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Gustave Kervern and Catherine Deneuve in Pierre Salvadori's In The Courtyard The French Film Festival UK has unveiled its selection for its 22nd edition this November - with highlights featuring some of the brightest lights of French cinema, including Catherine Deneuve, Isabelle Huppert, Isabelle Carré, Jean Reno, Guillaume Canet, Mathieu Amalric, Albert Dupontel and Jean-Pierre Darroussin.
In locations across the country stretching from Inverness to London via Edinburgh and Glasgow, the event styles itself as “a celebration of Francophone cinema in all its guises.”
As well as an eclectic selection of contemporary titles from the past 12 months, the Festival will pay tribute to the late Alain Resnais who died earlier in the year, with screenings of a restored copy of his first feature Hiroshima Mon Amour with Oscar-nominated Emmanuelle Riva (from Amour) and Eiji Okadan, and the director’s last film Life of Riley (Aimer, boire, et chanter), his »
- Amber Wilkinson
On paper, Brett Ratner sounds like such an improbable choice to direct a large-scale ancient Greek epic that, going into his “Hercules,” one could only hope for a less aggressively preposterous affair than Renny Harlin’s bargain-basement “The Legend of Hercules” from earlier this year. The happy surprise is that Ratner’s “Hercules” is more than a mere improvement on its predecessor. It’s a grandly staged, solidly entertaining, old-fashioned adventure movie that does something no other Hercules movie has quite done before: it cuts the mythical son of Zeus down to human size (or as human as you can get while still being played by Dwayne Johnson). The result is a far classier pic than Paramount’s frenetic trailer — and decision to hide the film from reviewers until the eleventh hour — foretold, albeit one that will struggle to find its sea legs at a crowded and underperforming summer box office. »
- Scott Foundas
Mr. Morgan’s Last Love, 2013
Directed by Sandra Nettelbeck
A look at the life-changing connection between a retired and widowed American philosophy professor and a young Parisian dance teacher.
Mr. Morgan’s Last Love is nice. Now when I say nice, what I am really saying is ‘suitable for daytime television scheduling’. In fact, if we’re honest, that is probably the best place for it. Inoffensive, occasionally charming, flimsy and a little bit too twee for its own good, this mostly harmless little tale about the life of widower, Matthew (Caine), living in Paris shortly after the death of his wife is a melancholy picture postcard for those that either wistfully yearn for an eternal love lost or have a romantic notion of Paris that has yet to be realised.
Following the death of his lifelong partner and apparent soul mate, »
- Steve Leadbetter
If you're interested in an anniversary conversation that really has some bearing on today's film industry, I highly recommend American Cinematographer's recent chat with "Collateral" Dp Dion Beebe. It's been nearly a decade (if you can believe it) since Beebe and Paul Cameron carved out a serious place for digital with that film, earning an American Society of Cinematographers (Asc) nomination in the process. It got me thinking about the history of the industry's acceptance of digital as reflected in the nominations handed out by both the Asc and Academy's cinematography branch over the last 10 years. Academy members were a bit slower on the uptake, as you might recall. Beebe and Cameron were snubbed by the branch despite the Asc nomination. Of course, that was still a dicey time for the technology. The first feature films shot digitally were Lars Von Trier's "The Idiots" and Thomas Vinterberg's "The Celebration, »
- Kristopher Tapley
It was just a few weeks ago that we talked about the fact that Michael Haneke is putting together a new film. Called Flashmob, the movie is one he conceptualized a few years ago, before setting it aside to make Amour. The concept has evolved a bit since then, but the basic core still seems […]
- Russ Fischer
We're now over two years since Michael Haneke took the Palme d'Or and won an Oscar for "Amour," and the director is taking his time getting back behind the camera. Earlier this year, it was reported that he was planning to shoot his next picture, "Flashmob," this summer. But it looks like those plans have shifted as the filmmaker seems to still be in the process of figuring out exactly how he wants to present his tale. Haneke was recently in Copenhagen, where he gave a masterclass, and Montages reports the director stated "Flashmob" would likely not shoot this summer. Part of the reason is that he's apparently waiting for a certain, unnamed actress to take a role in the film ("I'm waiting in line," he said) and the other is that he's still not decided on the visual/tonal aesthetic he wants to use. In short, it seems all very early at the moment. »
- Kevin Jagernauth
The more classics on the big screen the better. Rialto Pictures, a specialty distributor who has re-released other films like Jean-Luc Godard's Breathless and Alain Resnais' Last Year at Marienbad, has announced that the next classic they will be re-releasing this year is Alain Resnais' Hiroshima Mon Amour starring Emmanuelle Riva (who was Oscar nominated for Amour) and Eiji Okada. First released in 1959, Rialto will be re-releasing the restored 4K version of the film, which originally debuted at the Cannes Film Festival and Locarno Film Festival last year. So while it has been showing, it's getting a theatrical release in October. Thanks to IndieWire for the news. Here are two early trailers for Alain Resnais' Hiroshima Mon Amour: Glad to see this getting re-released, just hoping it can build enough buzz to get some audiences in theaters. "Known as a major influence on the French New Wave movement, »
- Alex Billington
Known as a major influence on the French New Wave movement, Alain Resnais' 1959 drama "Hiroshima Mon Amour" captivated audiences upon its release. Now, almost 60 years later, Rialto Pictures have acquired the distribution rights to the film, which is scheduled for a U.S. release this October. "Hiroshima Mon Amour" stars Emmanuelle Riva, who was recently nominated for an Oscar after her work in 2012's "Amour," as a woman who enters a brief relationship with a Japanese architect only a couple of years after World War II ends. The film's use of flashback sequences, a non-linear style and voice-over narration was a huge influence on future filmmakers, particularly those associated with the French New Wave movement. "Hiroshima Mon Amour" has been restored as this new 4K format by Argos Films, Fondation Groupama Gan, Fondation Technicolor and Cineteca Bologna, with support from the Cnc. Rialto Pictures has previously released classics such as Jean-Luc. »
- Eric Eidelstein
Keith Urban's wife Nicole Kidman has a new director on her wish list - the stunning Aussie beauty wants to work with Michael Haneke. The 'Grace of Monaco' star was awestruck by the Austrian director's Oscar-winning drama, 'Amour', and says he is top of her wish list to work with in future. She added: ''I'm offered unusual roles and I'm usually offered things with interesting directors. At this stage in my career, I don't want to get safe.'' The 46-year-old actress' career has spanned over 30 years and she hopes to keep the momentum going until she's well into her old age. She said: ''You can give the greatest performances of your life in your 70s and 80s. If you manage to get to that age. They say, 'Oh, a woman in her 40s wont work', but that's not true. ''There may be fewer roles, »
Sony Pictures Classics honchos Michael Barker and Tom Bernard have been feted up one side and down the other lately. The duo celebrated 20 years of Spc in 2012 and have received awards from the Museum of the Moving Image and the Gotham Awards as of late. Tonight they will receive the Los Angeles Film Festival's Spirit of Independence Award as the love keeps pouring in. Given that we recently celebrated the 20th anniversary of Fox Searchlight — another crucial entity in the indie film space — it seemed like we were over due for a similar appreciation of Sony Classics' 22 years of output. The interesting thing, though, is that unlike Searchlight, there isn't necessarily anything outwardly identifiable about Sony Classics films as, well, "Sony Classics films." They all have a strong whiff of good taste but they don't have the heavy marketing footprint of some of the studio's contemporaries. Barker and Bernard's cinephile passion is always evident, »
- Gregory Ellwood, Guy Lodge, Kristopher Tapley
Quentin Tarantino, during his Cannes Film Festival press conference (watch it here), mentioned an email chain he was a part of where he and some friends discussed what they believed to be the ten most exciting directors working today. Among those listed he said only David Fincher and Richard Linklater where in everyone's top ten, he wasn't sure why Pedro Almodovar wasn't on everyone's list and he also qualified what he believed it meant for a director to be the "most exciting". Here's how he put it: "I think what that means is, you feel that their best work is still in front of them. That's what makes a filmmaker exciting, that's what makes you anticipate a new movie coming out. Because the new movie could be their best one. From this day on that will be the new barometer from which they're judged. We could be wrong, and their »
- Brad Brevet
After taking home the Palme d'Or and landing an Oscar nomination for his film Amour, director Michael Haneke is heading into some seemingly strange territory for his next project. The film is called Flashmob, and even anyone with fleeting use of the internet has come across this viral phenomenon of large groups of people planning public displays of dancing, cosplaying and more. Film Comment has the latest on the project which is supposed to begin production this summer with a story that Haneke says will explore "the fragile relationship between media and reality." The titular flashmob will bring various characters together. This easily sounds like it has the makings of a romantic comedy like Love Actually or Valentine's Day, but with a director like Haneke behind the camera, we're betting it's anything but that. The project seems to have been percolating since before Amour got off the ground, because in »
- Ethan Anderton
Focus has locked in a January 8th 2016 release date for "The Forest, whilst Universal have announced a May 5th 2016 and a October 7th 2016 release for an untitled R-rated comedy and the animated "Monster High" respectively. [Source: Box-Office Mojo]
Michael Haneke has revealed that »
- Garth Franklin
Award-winning director and screenwriter Michael Haneke is apparently about to begin production work on his next film, Flashmob. The two-time Palme d’Or recipient – who mounted the Cannes Film Festival podium for both The White Ribbon in 2009, and Amour in 2012 – will begin shooting the movie this summer, sparking expectations of a triumphant return to La Croisette in 2015.
While details are sketchy, it seems that Flashmob is a multi-character drama, featuring a story set partly in the Us and focusing on the “fragile relationship between media and reality.” The plot will apparently involve a variety of different people who connect on the internet, before their individual stories come together for the titular flashmob.
Those details certainly sound like a Short Cuts for the digital age, but this type of story is something Haneke has been exploring in different ways for decades. The distancing effect of the trappings of modern society are regular themes in his work, »
- Sarah Myles
This year’s Cannes Film Festival may have come and gone without a new film from Austrian director Michael Haneke (who won the 2012 Palme d’Or with Amour), but it looks like the filmmaker could hit the 2015 festival with his next film. Haneke is prepping to shoot a movie called Flashmob this summer, which means […]
The post Michael Haneke’s New Film is ‘Flashmob’ appeared first on /Film. »
- Russ Fischer
Michael Haneke's Flashmob will shoot this summer.
The Amour director's next project will begin filming in the coming months, reports Film Comment.
The film will centre around a group of disparate characters that are brought together by different events.
The director has described it as an exploration of "the fragile relationship between media and reality".
Flashmob will shoot partly in the Us, although it has not been specified which other countries it will visit.
Haneke's most recent release was the award-winning Amour, which was released in 2012. »
Per Film Comment, Austrian auteur Michael Haneke is gearing up to shoot his next film, "Flashmob," this summer. Set partly in the U.S., the story focuses on various characters who meet via the internet and, as described by Haneke, "the fragile relationship between media and reality." Somehow these characters' relationships with one another, and their digital bond, culminates in -- you guessed it -- a flashmob by the film's end. Well, count us excited for anything the great Haneke has up his sleeve. The Playlist points out that while there's been little reporting thus far on this new project, financing began shaping up while the director was in the midst of making 2012's "Amour," which would go on to win both the Foreign Language Oscar and the Palme d'Or. No word yet on casting. But seeing as "this summer" is practically now, actors will no doubt be assembled/announced fairly soon. »
- Beth Hanna
Being one of the most incendiary filmmakers of the past couple of decades, Michael Haneke’s projects are always highly anticipated. Having focused on screen violence in both the European and Us versions of Funny Games, the causes of World War I in The White Ribbon and the nature of love beyond pensionable age in Amour, his next movie (though he probably wouldn’t like it to be called that) Flashmob concerns a distinctly 21st century phenomenon. Known to the wider world through its use in advertising, flashmobbing is a random, often mystifying event performed live without warning by a group of conspirators. Random and mystifying isn’t a bad way to describe Haneke’s own work so this could be an excellent fit and not just a case of an elderly man attempting to get down with the trends.
Taking place partly in America, the narrative (again apologies to »
- Steve Palace
It was reported a little over a week ago that Alfonso Cuaron was in "deep talks" to direct the Harry Potter spin-off Fantastic Beasts and Where to Find Them at Warner Bros., but that appears to be false. Speaking with Spanish news agency Efe (via Digital Spy), Cuaron doesn't sound like he wants anything to do with heavy visual effects coming off the effects-heavy feature Gravity, at least for the time being. "Directing Harry Potter and the Prisoner of Azkaban was a very beautiful experience for me," Cuaron said. "I have a lot of love for that universe and I tremendously admire J.K. Rowling, but today, for the present, projects based around lots of visual effects don't attract me. I'm coming out of a five-year process of doing visual effects and now I sort of want to clean my palate of that a little bit." Oh, and the talk of »
- Brad Brevet
Michael Haneke usually doesn't let more than a couple years pass between films, and it would appear that the director is gearing up his next effort, his first feature since 2012's Palme d'Or and Oscar winning "Amour." And it would find the filmmaker taking on some unexpected subject matter. Film Comment reports that Haneke will shoot "Flashmob" this summer, with the story partially set in the U.S. And yes, the movie is about that exact subject. The story will follow a group of characters who connect through the internet and are brought together by the titular event at the end, while the movie thematically exploring the relationship between media and reality. And while there doesn't seem to be much other news on this project out there at the moment, financing started coming together a few years ago when Haneke was shooting "Amour," with the Austrian Film Institute kicking in some funds. »
- Kevin Jagernauth
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