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After half a century of making films, the director is back on form with The Salt of the Earth and shows no signs slowing down
Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the Us – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism, »
- Ryan Gilbey
The Salt Of The Earth and Pina director, Wim Wenders, has begun filming his first French-language film an hour northwest of Paris in the Vexin area. It is based on a Peter Handke text he calls "a summer dialogue" and the title of the film will be Les Beaux Jours d’Aranjuez (The Beautiful Days Of Aranjuez), which is the first line of Friedrich Schiller's play Don Carlos. Wim's description follows: "It’s a woman and a man talking to each other, for an indefinite amount of time (the whole summer?) about love, sex, time, nature, memory…"
The man is portrayed by Reda Kateb, who starred opposite Viggo Mortensen in David Oelhoffen's elegiac Loin Des Hommes (Far From Men) based on the Albert Camus short story L'Hôte, and the woman is Sophie Semin. »
- Anne-Katrin Titze
James Franco works so prolifically these days that he’s bound to repeat himself now and again: In “The Adderall Diaries,” for example, he chalks up his second performance this year as an emotionally and creatively blocked writer processing profound reserves of trauma. Sadly, Pamela Romanowsky’s jumbled, affected adaptation of Stephen Elliott’s autobiographical 2009 book is no more enticing a showcase for its producer-star’s wounded-intellectual side than Wim Wenders’s inert “Every Thing Will Be Fine.” As in that film, Franco’s cultivated impenetrability makes for a pain-ridden but peculiarly passionless experience, with multiple clashing subplots — on such insufficiently explored themes as parental abuse, uxoricide and masochism — obstructing an already opaque character study. A name-filled ensemble might attract boutique distributor attention to Romanowsky’s debut feature, though theatrical exposure will be minimal.
Via his production imprint Rabbit Bandini, Franco deserves credit for enabling and championing young female voices on the U. »
- Guy Lodge
Paris — European filmmakers including Michel Hazanavicius (“The Artist”), Wim Wenders (“Every Thing Will Be Fine”), Paolo Sorrentino (“La Grande Bellezza”), Ken Loach (“Jimmy’s Hall”) and Abderrahmane Sissako (“Timbuktu,” pictured above) have rallied to protect copyright laws, which the European Commission is now considering replacing with a Digital Single Market (Dsm) measure.
During the Rome Rendez-Vous with New French Cinema, about 20 directors got together to protest the European Commission’s proposal to swap existing copyright laws with the so-called Digital Single Market, a measure allowing for audiovisual and film works to circulate freely across Europe via pan-European licenses.
The filmmakers argue that the E.U.’s proposal would scrap the notion of territorial exclusivity, strip right-holders and solely benefit multiterritory platforms, like Netflix and Google. Abolishing existing copyright laws would also threaten the entire financing system that has allowed film industries and culture across Europe to flourish.
“Our films are a form of hope, »
- Elsa Keslassy
German filmmaker Wim Wenders has really done it all. From narrative to documentaries, including 3D arthouse dramas (the upcoming “Every Thing Will Be Fine”), 3D documentaries (“Pina”), music videos (U2, Talking Heads), live concert films, and almost every kind of movie imaginable in between — Wenders’ work has been restlessly eclectic. The filmmaker has been an early adopter of new technology throughout his career, shooting on video in the mid ‘90s (“Until the End of the World”), and his embrace of 3D technology began even earlier than is suggested on paper (he began shooting “Pina” even before James Cameron’s “Avatar” was released in theaters). He’s also received a ton of accolades over the years, winning the Palme d’Or in 1984 at Cannes (“Paris, Texas”), Best Director at Cannes in 1987 (“Wings Of Desire”) and he’s been nominated for three Academy Awards for the documentaries “Buena Vista Social Club,” the »
- Rodrigo Perez
Following the premiere of three films earlier this year, I Am Michael, Every Thing Will Be Fine, and Queen of the Desert, James Franco has now embarked on his latest production and we’ve got the exclusive first images and details. Based on Franco’s own novel, Actors Anonymous is a unique filmmaking experiences in that it is being helmed by over […] »
- Jordan Raup
March is definitely a big month for Wim Wenders. The German filmmaker is currently celebrating a long overdue retrospective of his work at Moma, which will lead to a passel of new Criterion Collection releases of his films later this year, and his Oscar-nominated doc “The Salt Of The Earth” (his best work in some time) comes out in theaters via Sony Pictures Classics later this month. Not too shabby. But Wenders isn’t slowing down even as he approaches 70. His 3D drama "Every Thing Will Be Fine," starring James Franco, Rachel McAdams, Charlotte Gainbsourg and Marie-Josée Croze just premiered in Berlin last month and now a new international trailer has arrived. The movie is a domestic drama about a tragedy that irrevocably affects several families (here’s our review from Berlin). Here's the synopsis: A winter's evening. A country road. It is snowing, visibility is poor. Out of nowhere, »
- Edward Davis
James Franco is in talks to star in the 20th Century Fox comedy Why Him?, which will be produced by Shawn Levy's 21 Laps company and Ben Stiller's Red Hour Pictures. Both of the production companies are based on the 20th Century Fox lot.
The plot centers on a Midwestern father who takes his family on a trip to Stanford, to visit his daughter during the Christmas holiday. What started as an innocent family trip quickly spirals out of control, as the father gets into an unexpected competition with his daughter's new boyfriend, a young Internet billionaire. While Variety doesn't specify which role James Franco will play, it seems likely that he will portray the billionaire boyfriend.
John Hamburg (I Love You, Man, Along Came Polly) is directing from a screenplay he co-wrote with Nick Stoller (Neighbors, The Five-Year Engagement) and Ian Helfer (The Oranges). No production schedule was given at this time, »
While the reception of his 3D Drama "Every Thing Will Be Fine" was fairly tepid at the Berlin International Film Festival, the ever-busy Wim Wenders is already gearing up for a new film project. This summer he'll start shooting "Les Beaux Jours d’Aranjuez," starring Reda Kateb and Sophie Semin, based on the play by Peter Handke who is expected to make a cameo. No word on plot details yet, mostly because my French isn't up to scratch, and Google Translate makes things a further mess. [Screen Daily] " '71" director Yann Demange is going Hollywood. Sony has snapped up the buzz-making filmmaker for "The Seven Five." Based on the documentary of the same name, the story "focuses on Michael Dowd, who was arrested in 1992 for leading a ring of dirty cops for the best part of eight years between 1986-1992. Their crimes included theft, abuse and drug dealing. Dowd’s case exposed »
- Kevin Jagernauth
Scott Foundas: Well, Peter, another Berlin Film Festival has come to a close, ending on a high note with the awarding of its top prize, the Golden Bear, to Jafar Panahi’s “Taxi.” Panahi’s film screened right at the start of the festival and emerged as an early consensus favorite among critics here. As it turns out, the Darren Aronofsky-led jury felt the same way, and I’d like to think their decision was based solely on the movie’s artistic merits, rather than the unfortunate position in which its director finds himself in his native Iran, where he’s been under house arrest for the last four years. It’s impossible, of course, to watch “Taxi” without thinking about the unusual circumstances under which it was made — something this highly self-reflexive film very much invites you to do. But what makes “Taxi” a great movie, I think, »
- Peter Debruge and Scott Foundas
★★☆☆☆ In Wim Wenders' facile return to narrative filmmaking, Every Thing Will Be Fine (2015), all of life's problems can easily be resolved by a good old-fashioned hug. Loaded with unremarkable statements on moral resolve and brimming with arrogance, this desultory study of grief and the need for an artist to suffer in order to create great art is as hollow and throwaway as the redundant platitude it derives its name from. Unfolding via an elliptical narrative that fades in and out of time like a flashback of all the unremarkable moments you'd ordinarily forget, Every Thing Will Be Fine follows the misfortunes of Tomas Eldan (James Franco), a misanthropic writer struggling to come to terms with the death of a child.
- CineVue UK
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Balikbayan #1 Memories of Overdevelopment Redux III
How silly is it that, as cinephiles, our happiness is so bound up with the films we watch? My mood fluctuates at festivals, often based on what film I watched last. One recent morning exemplified this. You and I went to see the press screening of Chilean director Pablo Larraín’s new film, The Club. I was keen on this one as his last film, No (2012), was superb (I recall the mysterious Celluloid Liberation Front wrote on it for us from Cannes). Unfortunately, this film was entirely different, not just in style, but in its relationship to its subject matter, its characters, the world. Where No was invested in people, The Club takes on a very heavy topic with a level of disdain that left me feeling cold. The film is about a group of priests, »
- Adam Cook
German filmmaker Wim Wenders has attended the Berlin International Film Festival countless times before, but this year marks a special homecoming for the Berlin-based master. Wenders not only has his new film, the 3D drama "Every Thing Will Be Fine," screening out of competition at the event, but he's also the recipient of this year's Golden Bear award for his remarkable body of work. In honor of the achievement, the festival is screening 10 of his films, including 1984 Palme d'Or winner "Paris, Texas" and his latest documentary, the Oscar-nominated "The Salt of the Earth." New York's Museum of Modern Art (MoMA) is following suit by hosting a career retrospective that launches in March (more information can be found here). Ahead of the world premiere of "Every Thing Will Be Fine," Indiewire sat down with Wenders in Berlin to discuss his legacy. Are you one to frequently revisit your work? You no doubt supervised the restoration for. »
- Nigel M Smith
James Franco plays a novelist haunted by a fatal car accident in Wenders’ brooding, emotional drama, which at least has sincerity going for it
Wim Wenders wasn’t the first director to liberate 3D from blockbusters and animation (his countryman Werner Herzog beat him to it with Cave of Forgotten Dreams) but his 2011 dance documentary Pina remains one of the most sensual experiments in that format. His reasons for sticking with it in Every Thing Will Be Fine, however, are not immediately apparent.
This is an intimate drama where the action takes place in living rooms, offices, cafes and cars. When there is an explosive incident, it tends to be shunted off-screen. The closest that the use of 3D comes to the spectacular is the shot of a kitchen curtain fluttering in the foreground, revealing autumnal fields stretching into the distance as far as the earth will allow.
Continue reading. »
- Ryan Gilbey
It seems as if James Franco is in everything these days, working with so many different filmmakers from all over the world (Boyle, Gondry, Gordon Green, Korine, Raimi, Coppola, Haggis, Herzog). One of his latest appearances is in the film Every Thing Will Be Fine, the latest dramatic work from legendary German filmmaker Wim Wenders, which just premiered at the Berlin Film Festival. This deeply contemplative and compelling film is an extensive look at grief, and how that powerful emotion affects people over many years. There's a very chilling, almost Fincher-esque feel to it that makes this play almost more like a thriller than a drama. Oh, and it's shot in 3D, as Wenders has been exploring 3D ever since his vibrant 3D dance doc Pina. "A winter's evening. A country road. It is snowing, visibility is poor. Out of nowhere, a sledge glides down a hill. Brakes are slammed on, »
- Alex Billington
Scott Foundas: Hi Peter. Well, we’ve officially reached the midpoint of the 2015 Berlin Film Festival, although the most hotly anticipated event in this cold, cold town is still another day away. I’m talking, of course, about the world premiere of “Fifty Shades of Grey,” which isn’t the kind of movie one typically thinks of as festival fare, but which events like Berlin and Cannes need as a kind of palate cleanser from the steady parade of world-class arthouse cinema from countries like Iran, China and Chile. Those movies may get you lots of ink in Variety, but it’s only a “Fifty Shades” that can get your red carpet splattered all over the picture pages of Vogue and Vanity Fair.
- Scott Foundas and Peter Debruge
In today's Berlinale Diary: First impressions of Wim Wenders's Every Thing Will Be Fine with James Franco, Charlotte Gainsbourg, Rachel McAdams and Marie-Josée Croze—plus beautiful work in 3D by cinematographer Benoît Debie, but also one of the most saccharine scores yet from Alexandre Desplat. Then there's Alexey German Jr.'s Under Electric Clouds, "saturated with references to Russian history, politics, art, literature and social issues," as Lee Marshall writes in Screen. Plus a recommendation: Moritz Krämer's Bube Stur. » - David Hudson »
Oscar-nominated for "Salt of the Earth," Wim Wenders returns to 3D for his long-awaited redemption drama "Every Thing Will Be Fine," starring James Franco as a writer in a decade-long emotional tailspin after a tragic hit-and-run accident pulls him into the lives of a single mother (Charlotte Gainsbourg) and her young son. The film co-stars Rachel McAdams and Charlotte Gainsbourg. Wenders is also receiving Berlin's honorary Golden Bear-- but does his latest live up to par? Not so far. Early reviews, and Berlinale press conference video, rounded up below. Variety: "'We can only try to believe that there’s meaning to this,' murmurs Charlotte Gainsbourg midway through 'Every Thing Will Be Fine' — voicing viewers’ thoughts for the first and only time in Wim Wenders’ labored, lumbering melodrama. An inglorious return to narrative filmmaking for the German master, this protracted study in grief and forgiveness does little to »
- Ryan Lattanzio
“We can only try to believe that there’s meaning to this,” murmurs Charlotte Gainsbourg midway through “Every Thing Will Be Fine” — voicing viewers’ thoughts for the first and only time in Wim Wenders’ labored, lumbering melodrama. An inglorious return to narrative filmmaking for the German master, this protracted study in grief and forgiveness does little to suggest his time hasn’t been better spent making documentaries for the past seven years. Imprisoning James Franco in the role of an emotionally constipated writer taking 10 years to process a fatal car accident, “Fine” is unlikely to arouse much empathy from auds, who may instead spend most of the running time wondering why Wenders chose to dramatize these dingy proceedings in advanced 3D. Despite this arthouse novelty and a name cast, the conviction of the title will not be echoed by’s conviction.
Coming from many other veteran auteurs, a film as »
- Guy Lodge
While it may sound like one of the platitudes that James Franco's character is accused of delivering at one point, the title of Wim Wenders' new film "Every Thing Will Be Fine" contains a clue to its approach and it's in that space between "Every" and "Thing." This is very much a film about Things —not objects, not any particular thing, but Things. Characters wonder how Things are going. They worry Things are not working out. They ask how Things are with each other. They wish they could make Things better. They lament the fact they want different Things. And when they have no other recourse to explain events, they blame Things for doing what Things do: happening. Some of the Things that happen over the course of the decade or so the film spans are as follows: Tomas (Franco) is already having trouble with his girlfriend Sara »
- Jessica Kiang
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