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Michel Gondry is no stranger to experimentation. In the past five years, he has made a big studio adaptation of "The Green Hornet," a documentary about his aunt called "The Thorn in the Heart," the real time story of some Queens high schoolers on the bus "The We and the I," and the fantasy drama "Mood Indigo." Even so, his latest completed project is unique: Solely consisting of a conversation between the filmmaker and noted linguist Noam Chomsky, "Is the Man Who Is Tall Happy?" relies on Gondry's hand drawn animations and voiceover to explore Chomsky's rich theories of language. The movie, which closes the Doc NYC festival this week, will be released by IFC Films on Friday. Gondry spoke to Indiewire about his experience with the project and how it compares to both his recent work as well as his earlier music videos. In the movie, you state a »
- Eric Kohn
As the Toronto Film Festival acquisitions market gets cracking, I find it helpful to see how some of last year’s titles fared at the box office. It’s an instructive way to keep things in perspective. Titles below reflect theatrical grosses, but remember, multi-platform business is not reflected and in some cases has turned films into profitable winners. Related: Toronto 2013: Will Deals Take Back Seat? Toronto Film Festival 2012 Acquisitions at the Domestic B.O. Title (distributor) Domestic B.O. (in millions except where noted) The Place Beyond the Pines (Focus Features) $21.4 Spring Breakers (A24) $14.1 Much Ado About Nothing (Roadside Attractions) $4.27 Frances Ha (IFC) $4.05 Emperor (Roadside Attractions) $3.35 Stories We Tell (Roadside Attractions) $1.59 Girl Most Likely (Roadside Attractions) $1.38 The Lords of Salem (Anchor Bay) $1.17 What Maisie Knew (Millennium Ent.) $1.07 Still Mine (Samuel Goldwyn) $587K The Reluctant Fundamentalist (IFC) $529K Arthur Newman (Cinedigm) $208K No Place on Earth (Magnolia) $200K John Dies at the End »
- MIKE FLEMING JR
Virgil Films & Entertainment has announced the home video (DVD/Blu-ray) releases of 3 S&A-covered titles: Michel Gondry's The We And The I, British/Egyptian drama My Brother The Devil, and Egyptian revolution documentary, 1/2 Revolution. Michel Gondry's Bronx tale The We and The I made its North American premiere at the Toronto International Film Festival, last year (2012). The film stars Michael Brodie, Teresa Lynn, Laidychen Carrasco, Raymond Delgado, Jonathan Ortiz, Jonathan Worrell and Alex Barrios, and is described as follows: The We and the I is the heartfelt and comical story of the final bus ride home for a group of young high school students and »
- Tambay A. Obenson
Michel Gondry is back. And he's going no holds barred.After slumming it as studio hired-gun and inner-city auteur (in 2011's The Green Hornet and 2012's The We and the I, respectively), the French director is back in small-batch surrealist mode with Mood Indigo (L'ecume des jours). The cult of Gondry can breathe a sigh of relief: with all its artisanal whimsy and handcrafted pizazz, this isn't just the movie you've been waiting for - it's three of them. Now, if only Gondry had managed to make them add up to anything meaningful or affecting. I could offer some token plot summary here, but believe me when I say that it really, really doesn't matter. Adapting the 1947 Boris Vian novel L'ecume des jours, a linguistically playful romance that's about as universally...
[Read the whole post on twitchfilm.com...]
After interestingly taking on the subject of teenage friendships in 2012.s The We and the I, Michel Gondry . he who made both Eternal Sunshine of the Spotless Mind and The Green Hornet, somehow . reverted back to his French origins for an adaptation of Boris Vian.s wildly imaginative 1947 novel L.Ecume des jours, which translates to Foam of the Daze or Froth on the Daydream depending on who translates it. And beyond just having a Gondry-esque title, it seems as if the director was put on this planet specifically to bring these illusory images to life. Somehow there are even more enchanting images here than there were in Mood Indigo.s first trailer we showed you a few months back, and this one even has subtitles, even though it.s hard to read words while stars Romain Duris and Audrey Tautou are flying around in a mini-cloud spaceship thing. You »
After an opera adaptation and earlier cinematic efforts by Go Riju and Charles Belmont, Boris Vian’s supposedly unfilmable cult novel “Froth on a Daydream” has been adapted to the bigscreen as Michel Gondry’s often inventive but finally exhausting “Mood Indigo.” Gondry’s trademark do-it-yourself production design (“Be Kind Rewind,” “The Science of Sleep”) is given a big-budget showcase here, but the resulting yarn, about a rich man rendered penniless by his ailing g.f.’s need for flowers to stay alive, is emotionally stunted and lacks the requisite sense of tragedy. With Romain Duris and Audrey Tautou playing two iconic characters, initial local B.O. should be solid; offshore, “Mood” will be cooler.
Finally back on Gallic home turf after “The Green Hornet” and “The We and the I,” Gondry would seem the perfect filmmaker to adapt Vian’s work and bring to life such flights of fancy as the pianocktail, »
- Boyd van Hoeij
The We and the I, the latest feature film from Michel Gondry (Eternal Sunshine of the Spotless Mind, Be Kind Rewind), is a glimpse at a bus ride home on the last day of school in the Bronx. Flirtations flicker, bullies torment, obnoxious guys are obnoxious and friends tease and giggle with each other.
There is not much of a constant adult presence in the movie (except for the bus driver, played by a real-life Mta driver), which leaves the teens to be themselves -- or at least however they want their peers to see them.
Gondry brought over his sketch of an idea for The We and the I to an afterschool program, The Point, after a screening of his movie Be Kind Rewind there. The kids he found through the program not only acted in the eventual film, but also collaborated on it. Indeed, most of the teenagers »
- Elizabeth Stoddard
Speculation as to what will and won't play at the 2013 Cannes Film Festival is getting louder and I'll have more on that later today, but for now check out two recently revealed posters promoting a couple of the sidebars at the fest. First is the Directors' Fortnight (Quinzaine) sidebar where last year Michel Gondry's The We and the I kicked things off and the lineup also saw Rodney Ascher's Room 237 along with Ben Wheatley's Sightseers and Pablo Larrain's Oscar-nominated No. As for the Critics Week (Semaine de la Critique) sidebar, last year's lineup didn't make a ton of noise, but that doesn't mean this year's won't impress and it always features one of the better posters of the fest. Just check out last year's. As I've been saying for about a month now, I will once again be returning to the festival, thanks in large part »
- Brad Brevet
0:00-2:05 – Introduction; Ncaa brackets
2:05-3:50 – iTunes review; current whereabouts of Dylan
3:50-13:40 – “Olympus Has Fallen” review
13:40-16:10 – Jeff’s travel plans (baby on plane!)
16:10-21:35 – “The Croods” review
21:35-31:15 – “Spring Breakers” review
31:15-37:40 – “Stoker” review
37:40-38:40 – We’ll review “Admission” next week
38:40-41:35 – “The We and the I” review
41:35-43:05 – Qotw for next week: Who was your first movie crush?
43:05-44:50 – Introduction to Walter Salles interview
1:09:00-1:10:50 – Wrap-up and goodbyes
Qotw: Who was your first movie crush?
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- Jeff Bayer
Title: The We and the I Director: Michel Gondry Starring: Michael Brodie, Teresa Lynn, Raymond Delgado, Jonathan Ortiz, Jonathan Worrell, Alex Barrios, Laidychen Carrasco, Jacobchen Carrasco, Meghan Murphy, Raymond Rios, Mia Lobo Filmmaker Michel Gondry has always been a visionary of visual style, dating back to his groundbreaking work in the music video format. Less noted is his soft spot for underclass underdogs and those existing on the margins of society, as found in his features like “Be Kind Rewind” and “The Science of Sleep.” That predilection gets a more direct exercising in what may be Gondry’s most narratively straightforward and direct movie yet, which charts a city bus ride home [ Read More ]
The post The We and the I Movie Review appeared first on Shockya.com. »
From director Michel Gondry (Eternal Sunshine of the Spotless Mind), The We and The I is an indie drama that looks at the lives of a group of teenagers in the Bronx who ride the same bus route, and how their relationships change and evolve on the last day of school. Among farewells to friends and excitement about the upcoming vacation, there are laughs, love and heartbreak. During this recent exclusive phone interview with Collider, filmmaker Michel Gondry talked about how the idea for this project was inspired by his own experiences, finding a school that was willing to work with the production, the process of finding the characters, and presenting who these teenagers were in a non-judgmental way. He also talked about wanting to explore new ideas for film, what made him want to tell the story of Mood Indigo (L'écume Des Jours), about a woman who suffers from »
- Christina Radish
Break out your French to English dictionaries.
French director Michel Gondry started out his movie-making career as a director of music videos for artists like Bjork and Beck, eventually breaking through with the visually striking, 2004 drama Eternal Sunshine of the Spotless Mind. The movie earned Gondry and co-screenwriter Charlie Kaufman an Academy Award for Best Screenplay. We also have Gondry to thank for the current trend of "Sweded" trailers — low-budget recreations using handmade props and effects — thanks to his 2008 comedy Be Kind Rewind. However, after Gondry's 2010 comic book adaptation The Green Hornet, Gondry has stuck with more independent productions like last year's The We And the I and now to his home country for his next effort, Mood Indigo (L 'Ecume des Jours overseas).
Link | Posted 3/16/2013 by Ryan
- Ryan Gowland
Our favorite eccentric Frenchman, Michel Gondry, is on a roll of late. He's debuted two stunningly gorgeous trailers for his new movie, Mood Indigo, which opens in France this month. The footage is already compelling enough to make us wish we knew French — and had read the 1947 book, L'écume des jours, on which the movie is based. (It's about an inventor of olfactory instruments whose wife develops a sickness that can only be cured by surrounding her with fresh flowers. So Gondry-esque!) In the meantime, he has the wonderful The We and the I, which follows a group of high-school students from the Bronx — bullies, nerds, outcasts — along the final Mta bus ride home at the end of the school year. Relationships are formed and ruptured, tall tales get illustrated in handmade fantasy sequences, and a feisty old lady who's stuck in the back of the »
- Jada Yuan
Specialized distributors continue to try to break beyond the usual review-driven New York/Los Angeles limited openings to find less conventional ways to release films. Among this week’s openings, Mumblecore indie “Somebody Out There Likes Me," starring Second City's own Nick Offerman, premiered to significant success exclusively in Chicago in advance of its VOD debut as well as upcoming theater dates elsewhere. Peter Webber's poorly reviewed World War II drama “Emperor” played mostly mainstream theaters in multiple cities. And Michel Gondry's “The We and the I” had a better than expected New York single-theater release that holds promise for more attention. The one with the best reviews and strongest advance presence, Cristian Mungiu's Oscar nominee “Beyond the Hills,” enjoyed a modest start, highlighting the ongoing problem of getting even the most review-oriented audiences in the two top markets to show up. Opening “Emperor” (Roadside Attractions »
- Tom Brueggemann
Like some Gallic version of Tim Burton, Michel Gondry's initial promise has given way to a series of films whose diminishing returns demonstrate that he's a talented visualist without the capacity for, or worse, any interest in, telling an actual story. Gondry's defenders will, of course, point to the excellent "Eternal Sunshine of the Spotless Mind," but the passage of years has made it abundantly clear that the credit for that film belongs entirely to screenwriter Charlie Kaufman; Gondry may have gotten out of the way of that script, but that's hardly a reason to celebrate his skills or capabilities, such as they are, beyond that. The messy "Be Kind, Rewind," the cutesy-creepy "The Science of Sleep," the noisome and needless "Green Hornet"...Gondry's name above a title has gone from being a reason to seek a film to being a reason to shun it. "The We and the I, »
- James Rocchi
What's the time limit for mourning a bad film from one of today's most innovative filmmakers? Until their next feature? Forever? I want to discuss Michel Gondry's latest effort, The We and the I, a shockingly horrendous film that strips away every bit of this man's gifted imagination. Shot almost entirely on a bus, the French New Wave-influenced The We and the I revolves around inner-city kids in New York on their ride home from school. On a bus. One by one, they get dropped off (as people do after getting on a bus), and talk, banter, and bicker about everything teenagers with hormones talk, banter, and bicker about. "Sounds like a great film!" said arthouse smarty pants everywhere. Then one learns Michel Gondry...
[Read the whole post on twitchfilm.com...]
School is officially out for the summer as a bunch of high schoolers crowd onto a city bus. With no adult authority figures willing to keep the kids in line, the bus is quickly segregated into two distinct groups: the bullies and the bullied. Out-numbered and unwilling to take a stand against a gang of hood-rat brats, the adults opt to exit the bus -- some more gracefully than others -- until the bus driver is left with a bunch of unruly teens. The bus devolves into an urban The Lord of the Flies on wheels as the kids jockey for power by using mental and physical torture against each other. The meanest and the crudest claw their way to the top of the pile, leaving a trail of emotionally devastated victims in their wake; but rather than dissolving into a state of total anarchy, kids exit the bus at »
- Don Simpson
We're barely three months into 2013, and director Michel Gondry is serving up plenty for his fans. His long brewing Noam Chomsky documentary, "Is The Tall Man Happy?" has started screening and later on this year, he'll deliver the whimsical "Mood Indigo." But before that, the writer/director will help usher in summer with "The We And The I," another interesting gear change for Gondry that finds him working with non-actors, in a unique story that follows a group of teenagers on a city bus on the last day of school. But the movie is also a distinct tale that hums with the energy of the Bronx, and this exclusive featurette offers a fascinating insight into how the project came together. From the initial seeds of an idea by Gondry, to working with community center The Point and the range of young people who came on to take roles in the film, »
- Kevin Jagernauth
While recent efforts like the documentary "The Thorn In The Heart," the superhero blockbuster "The Green Hornet," and indie "The We And The I" have all allowed Michel Gondry to take some detours, it's been a while since we've seen a movie that's, well, Gondry-esque. But it looks like the filmmaker is firmly back in his wheelhouse with "Mood Indigo," which debuted a gorgeous trailer about a month ago. And with its spring release overseas gearing up, some fresh promo material has arrived. New character posters have dropped for the movie, centering on leads Audrey Tautou, Omar Sy and Gad Elmaleh. Based on Boris Vian's 1947 novel, "L'Ecume des jours," the film tells the tale of Colin (played by Romain Duris), the wealthy inventor of an olfactory musical instrument. He marries Chloe (Tautou), but unfortunately she falls ill during their honeymoon thanks to a water lily that enters her lung, »
- Kevin Jagernauth
Running from February 14th to the 24th, the 2013 installment of the increasingly popular Glasgow Film Festival marks its ninth incarnation. Advertised as a festival “for the people”, Gff tends to stray from the red carpet approach and curation-heavy feel of its local(-ish) cousin, June’s Edinburgh International Film Festival, though it does have various themed strands and a few UK and European premieres. Mainly, it is a chance for Scottish audiences to get an advanced look at some incoming 2013 highlights, as well as acclaimed festival fare both with and without planned UK distribution.
Befitting of the Valentine’s Day launch, the festival’s opening gala screening is the UK premiere of French romantic comedy Populaire. Directed by Régis Roinsard, the late 1950s-set film stars Romain Duris, Déborah François and Bérénice Bejo. Closing the festival is the European premiere of Joss Whedon’s take on Much Ado About Nothing. Shot »
- Josh Slater-Williams
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