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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 »
The smallest and subtlest film in the main competition at Cannes this year, Mexican director Michel Franco’s “Chronic” offers a measured portrait of a hospice nurse (played by Tim Roth) who tends to terminally ill patients, respectfully observing his difficult and emotionally draining job while bluntly asking the question: Who cares for the caregiver? Echoing Michael Haneke’s “Amour” in key aspects of style and theme without achieving nearly the devastating impact of that Palme d’Or winner, Franco shifts the emotional center of his film away from the bond between a dying woman and her closest loved one, zeroing in on the uncomfortable truth that, in many cases, the people who connect most closely to such patients in their final days are not immediate family members, but their nurses. Needless to say, the subject is anti-commercial in the extreme, and the approach even more so, relegating this sensitive portrait primarily to festivals. »
- Peter Debruge
Indie distributor Alchemy has just scooped up Cannes perennial Nanni Moretti's "Mia Madre" out of the competition. This semi-autobiographical seriocomedy centers on a director (Margherita Buy) who's shooting an Italian film with an unruly and famous American actor (John Turturro). Meanwhile, she's trying to keep her own life together, despite her mother's (Giulia Lazzarini) illness and daughter's (Beatrice Mancini) budding adolescence. Moretti, who also stars in the film and won the 2001 Palme d'Or for "The Son's Room," co-penned the script with Francesco Piccolo and Valia Santella. In 2012, he served as the Cannes jury president when Michael Haneke's "Amour" took the Palme. Read More: Indiewire's Cannes Review of "Mia Madre" Moretti produced "Mia Madre" through his Sacher Film banner along with Domenico Procacci of Fandango and Rai Cinema. While no release date has been set, the film has so far met acclaim and interest »
- Ryan Lattanzio
Exclusive: Mia Wasikowska thriller goes to France, Germany ahead of June 15 shoot.
Writer-director Martin Koolhoven’s (Winter in Wartime) upcoming thriller Brimstone, starring Mia Wasikowska (Maps to the Stars), Guy Pearce (The Hurt Locker), Robert Pattinson (Twilight Saga) and Carice van Houten (Black Book), has closed key deals and added finance ahead of its June 15 shoot.
Among pre-sales to close for Embankment Films are Germany (Koch Media) and France (The Jokers Films) with savvy French outfit Back-Up Media and Holland’s N279 Entertainment arranging financing on the film with London-based New Sparta Films and Filmwave.
In Brimstone, Wasikowska will play a heroine on the run from her past, chased by a diabolical preacher played by Pearce. Set in the American West, Paterson is set to play an outlaw.
The film will shoot in Romania, Spain and Germany »
- email@example.com (Andreas Wiseman)
Pic is the English-language adaptation of Hans Fallada’s novel, based on the true story of a working-class couple who conducted a series of anonymous protests against the Nazi regime during World War II. The screenplay was written by Achim von Borries (“Good Bye Lenin!”) and Vincent Perez.
Joining the production team are cinematographer Christophe Beaucarne (“Irina Palm,” “Mr. Nobody”), production designer Jean-Vincent Puzos (“Amour,” “10,000 B.C.”) and editor Francois Gedigier (“On the Road,” “Yves Saint Laurent”).
X Filme’s Stefan Arndt and Uwe Schott (“Cloud Atlas,” “Amour”) and Master Movie’s Marco Pacchioni (“Bluesbreaker,” “Bye Bye Blondie”) are producing together with James Schamus (“Brokeback Mountain,” “Crouching Tiger, Hidden Dragon”) and FilmWave’s Christian Grass and Paul Trijbits (“Jane Eyre,” “Saving Mr. Banks »
- Leo Barraclough
Second World War drama will shoot on location in Berlin, Cologne and Görlitz.
Based on the true story of a working class couple who conducted a series of anonymous protests against the Nazi regime during the Second World War, principal photography will begin tomorrow (March 27) on location in Berlin, Cologne and Görlitz.
French actor Vincent Perez will direct.
- firstname.lastname@example.org (Michael Rosser)
“Prejudice” is one of the projects developed and produced by Benoît Roland’s Wrong Men, a Brussels-based, up-and-coming outfit that aims at supporting emerging Belgian talent and producing local movies for the international market.
The family drama features an international cast led by Nathalie Baye, Arno (pictured above with Cuypers), Thomas Blanchard and Ariane Labed, who recently won best actress at Locarno. The pic marks Cuypers’s follow up to the short film “A New Old Story.”
“Prejudice” centers around a family celebration that unravels after a young women (Ariane Labed) announces to her brother Cedric (Thomas Blanchard) and parents (Nathalie Baye and Arno) that she’s expecting a baby. Cedric reacts to the news with anger and starts exposing the prejudice he claims to be facing. »
- Elsa Keslassy
Exclusive: Shoot underway on Childhood of a Leader.
Berenice Bejo, Robert Pattinson and Stacy Martin have been joined by Liam Cunningham (Game Of Thrones), Yolande Moreau (Amelie) and Sophie Curtis (Arbitrage) for Brady Corbet’s directorial feature debut The Childhood of A Leader, which is shooting now on location in Hungary.
The film charts the birth of a terrifying ego during the rise of fascism in the early 20thcentury.
Protagonist reps international sales, Wme handles North America.
The drama is a Unanimous Entertainment and Mact Films production in association with FilmTeam in Hungary. Funding comes from Media House Capital, Bow and Arrow Entertainment, Scope Pictures and Scion Pictures.
- email@example.com (Andreas Wiseman)
We're knee-deep in awards season at the moment, with all the attendant speculation, drama and controversy you would expect. Who should win? Who was snubbed? Who will fall over before they reach the podium? We're looking at you, Jennifer Lawrence.
Around this time, we tend to realise the shocking number of lauded films from previous years which we still haven't seen. So here's a selection of the best award-winning films you can catch up with on Netflix:
Francis Ford Coppola's 1972 classic hardly needs an introduction from us. The film took three Oscars including Best Picture and Best Actor for Marlon Brando, as well as a record five Golden Globes and further nods from the Grammys, and Writers and Directors Guilds of America.
Paris — The Paris-Ile de France region is increasingly positioning itself as Europe’s premier film production hub, while simultaneously building synergies with its closest rival, London, and also with production centers in Belgium and Luxembourg.
In recent years there has been a sea change in the way the local industry works. Since the Nouvelle Vague, France has charted its own distinctive path in the film world, including a strong emphasis on auteur films. But this underlying commitment to the “Art et Essai” — broadly, arthouse — films is complemented by a new generation of directors interested in integrating VFX and animation work within their projects.
In the wake of the digital revolution, all areas of French film production have gone digital, including subtle use of “invisible” VFX on auteur films. Recent examples include VFX work by Mikros Image on Michael Haneke’s “Amour” and Jacques Audiard’s “Rust and Bone” and Buf »
- Martin Dale
Paris – France’s Mikros Image, with headquarters in Paris and offices in Montreal, Los Angeles, Liège, Brussels, Luxembourg and Milan, plans to reinforce its animation and VFX work, revolving primarily around its three-main operation centers: Paris, Belgium and Montreal.
With a 250-strong workforce, the company is one of France’s veteran and most highly-respected VFX shingles.
Mikros rose to international recognition with its 2010 Oscar-winning toon short “Logorama” and bowed a dedicated animation division in June 2012 in Levallois-Perret, Paris.
Its first animation feature, Louis Clichy and Alexandre Astier’s €37 million ($42 million) “Asterix: the Land of the Gods,” was released in France on Nov. 26, clocking up 0.93 million admissions for distributor Snd in its opening week. The film’s cumulative 3.2 million admissions, complemented by worldwide sales, makes it one of the most successful French toon pics ever.
- Martin Dale
Catherine Deneuve: César Award Besst Actress Record-Tier (photo: Catherine Deneuve in 'In the Courtyard / Dans la cour') (See previous post: "Kristen Stewart and Catherine Deneuve Make César Award History.") Catherine Deneuve has received 12 Best Actress César nominations to date. Deneuve's nods were for the following movies (year of film's release): Pierre Salvadori's In the Courtyard / Dans la Cour (2014). Emmanuelle Bercot's On My Way / Elle s'en va (2013). François Ozon's Potiche (2010). Nicole Garcia's Place Vendôme (1998). André Téchiné's Thieves / Les voleurs (1996). André Téchiné's My Favorite Season / Ma saison préférée (1993). Régis Wargnier's Indochine (1992). François Dupeyron's Strange Place for an Encounter / Drôle d'endroit pour une rencontre (1988). Jean-Pierre Mocky's Agent trouble (1987). André Téchiné's Hotel America / Hôtel des Amériques (1981). François Truffaut's The Last Metro / Le dernier métro (1980). Jean-Paul Rappeneau's Le sauvage (1975). Additionally, Catherine Deneuve was nominated in the Best Supporting Actress category »
- Steve Montgomery
The sudden loss of one parent and the looming death of another set the stage for “James White,” a stripped-bare family drama that marks the feature directing debut of indie producer Josh Mond. Familiar in its general trajectory, but unusually raw and ragged in its emotional architecture, Mond’s fraught portrait of a mother and son in crisis sports a pair of knockout performances by Cynthia Nixon and “Girls” alumnus Christopher Abbott, and a vivid feel for wayward New York youths cocooned by upper-middle-class privilege, but little in the way of redemptive creature comforts. Audiences seeking spiritual uplift are strongly advised to look elsewhere.
Mond, who previously directed several short films, is best known as the longtime producing partner of directors Antonio Campos (“Afterschool”) and Sean Durkin (“Martha Marcy May Marlene”), whose New York-based Borderline Films collective has carved out a certain niche of dark, provocative psychological dramas strongly influenced »
- Scott Foundas
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