1-20 of 40 items from 2015 « Prev | Next »
It was last year’s most snap worthy Cannes Market one sheet image and it pretty much secured an In Comp entry the moment Marion Cotillard signed on. The actresses’ fourth consecutive year in the Palme d’Or hopefuls (Rust and Bone, The Immigrant, Two Days, One Night), actually make that five if it is followed by It’s Only the End of the World in 2016, this latest version of Macbeth comes from an Aussie director who made the most noise in the Critics’ Week section when his Snowtown (later known as The Snowtown Murders) launched Justin Kurzel into a nice sophomore gig. While some of our critics jetted out early, here is a sampling of grades to feast on.
- Eric Lavallee
★★★☆☆ Following the impressive The Beat That My Heart Skipped (2005), the excellent A Prophet (2010) and the melodramatic Rust and Bone (2012), Jacques Audiard returns to Cannes with Dheepan (2015), a mix of Loachian social realism and Death Wish-style violent fantasy. This outsider in Paris tale begins with a Tamil freedom fighter burning the bodies of his dead comrades and throwing his uniform into the fire. Disillusioned with the war he adopts the identity of one of the dead men, Dheepan (Jesuthasan Antonythasan) and, with the help of the smuggler, recruits a young woman to pose as his wife (Kalieaswari Srinivasan) and an orphaned child (Claudine Vinasithamby) to be their daughter.
- CineVue UK
"Jacques Audiard has made his name, in films such as A Prophet, Rust and Bone and The Beat That My Heart Skipped, for a kind of ecstatic violence of the soul," begins the Guardian's Andrew Pulver. "Dheepan, his new film about a former Tamil Tiger fighter looking for a new life in France, certainly has some of the director’s trademark ferocity, especially in its final minutes, but it displays what I can only describe as dialed-down Audiard. Indeed, much of the time it even ambles, peacefully, with nothing much happening." We've got more reviews and a clip. » - David Hudson »
The more things change, the more they stay the same for the Sri Lankan refugees of Jacques Audiard’s “Dheepan,” who flee their war-torn homeland only to find themselves in a new kind of conflict zone in the housing projects of Paris. A typically unpredictable career move by the prolific and varied Audiard following the unabashedly melodramatic romance “Rust and Bone” and the searing crime drama “A Prophet,” this almost entirely Tamil-language immigrant drama unfolds in solidly involving, carefully observed fashion for much of its running time, until it takes a sharp and heavy-handed turn into genre territory from which it never quite recovers. Commercially, this will be a far more specialized item than Audiard’s other recent work, especially in the U.S., where the film was acquired by IFC in advance of its Cannes bow.
There’s certainly no disputing that one of the breakout stars of Cannes this year is Antonythasan Jesuthasan, »
- Scott Foundas
The last decade or so has seen Jacques Audiard establish himself as one of the best, and best known, French filmmakers currently working. He first gained international attention with 2001's "Read My Lips," and then with the terrific "The Beat That My Heart Skipped" in 2005. But it was 2009's prison epic "A Prophet" that really made his name by winning the Grand Prix at Cannes, picking up an Oscar nomination and becoming a cult hit worldwide. 2012's melodrama "Rust and Bone" continued the trend, with stellar reviews and awards buzz, bringing him to his largest audience yet, thanks to the presence of megastar Marion Cotillard. His follow-up, however, marks something of a return to his roots, a lower-budget drama starring a cast of unknowns, while simultaneously feeling like new territory. Perhaps not coincidentally, it's also absolutely terrific, and one of the strongest things he's made so far, a film containing all Audiard's strengths and. »
- Oliver Lyttelton
Jacques Audiard hit my radar in 2009 when I placed his film A Prophet at #1 on my top ten of 2009. His follow-up, Rust and Bone, made my top ten in 2012. So, yeah, I'm looking forward to his latest, Dheepan, which is set to premiere at this year's Cannes Film Festival and today we get a batch of the first pictures from the movie along with a clip. Antonythasan Jesuthasan stars in the lead role as a Sri-Lankan Tamil fighter who is a political refugee in France, where he works as a caretaker on an 'unruly' council estate in the Parisian suburbs. Along with a young woman and a little girl, the group pose as a family and end up settling in a housing project outside Paris. They barely know one another, but try to build a life together. Sundance Selects will hopefully bring this one to theaters later this year. Check »
- Brad Brevet
French filmmaker Jacques Audiard was well on his way to international acclaim. He won best screenplay at Cannes for 1996’s “A Self-Made Hero,” while "Read My Lips" and "The Beat That My Heart Skipped," were two of the best French films of the early aughts. But it wasn’t until 2009 that he was back at Cannes and won the Grand Prix with his arresting crime film “A Prophet,” a stunning drama some might argue should have won the Palme d’Or. The picture was also nominated for the Best Foreign Language Film at the 82nd Academy Awards and thus thrust the director into a new stratosphere. Following “Rust And Bone” in 2012, Audiard is back in Palme d’Or contention with “Dheepan” a drama about a Tamil freedom fighter who flees to Europe near the end of the Sri Lankan Civil War. With a makeshift family hoping to claim asylum, they »
- Edward Davis
Thomas Bidegain, a longtime and close collaborator of Jacques Audiard, is a Cannes veteran — and yet this year he’s also a sort of neophyte. Bidegain has been in Competition twice for writing the screenplays of films directed by Audiard: Rust And Bone and A Prophet. Last year, he was here with Bertrand Bonello’s Saint Laurent which he also wrote and which went on to be the French Foreign Language Oscar submission. The tables have turned somewhat and he’s now here, in… »
The spirit of the American West lives on in France, of all places, where devotees don their cowboy hats and jeans to attend carnivals where they ride horses and dance to country music. While the hard-scrabble attitude endures, one can’t help but wonder where the lawless frontier itself now lies — precisely the question screenwriter Thomas Bidegain explores in “Les Cowboys.” Bidegain, who for years has served as the muscle behind Jacques Audiard’s scripts, advances his ongoing deconstruction of genre-movie masculinity in his uncompromising, anti-romantic directorial debut, transposing the myth of John Ford’s “The Searchers” to the modern era when one of these ersatz cowboys’ daughters disappears, sending her Marlboro-man father off in hopeless pursuit. Here, instead of being abducted by Comanches, the girl converts to Islam, touching on still-raw racial prejudices in a pared-down, elliptical art film that’s tough to watch, yet continues to haunt in the weeks that follow. »
- Peter Debruge
★★☆☆☆ Screening in the Un Certain Regard sidebar at Cannes, Parisian director Alice Winocour's Maryland (aka Disorder, 2015) is a neat little thriller which unfortunately never achieves plausibility. Belgian actor Matthias Schoenaerts - most widely seen in Rust and Bone (2012) and The Drop (2014) - plays Vincent, a soldier with some medical problems who is awaiting a new mission, but almost sure that he is going to be turned down. He has hearing problems, nightmares, anger issues and occasionally bleeds for no reason, so he's probably not fit for active duty. A friend helps him out with a job providing security for the party of an industrialist in his luxury villa, the titular Maryland.
- CineVue UK
"Ever since the one-two punch of his knuckle-smashing performances in Bullhead and Rust and Bone, Matthias Schoenaerts has become an in-demand import in Hollywood," writes Benjamin Lee for the Guardian. "But despite high-profile roles in Far From the Madding Crowd, A Little Chaos and Suite Française, he’s largely been miscast as a soft romantic lead." In Alice Winocour's Disorder, "he’s back on safer ground. Tortured physicality is his forte and in the role of a soldier struggling with Ptsd, he’s comfortably commanding." In further reviews, Diane Kruger comes in for praise as well for her performance. » - David Hudson »
“Maryland” is the original title of “Disorder,” the second feature by Parisian writer-director Alice Winocour, and while not one minute of it takes place in the American state of the same name, it’s a film that hints at bright transatlantic possibilities for its helmer. A fine-cut tension exercise that eventually ignites into a full-blown home-invasion thriller, “Disorder” reps about the last step one might have expected Winocour to take after debuting with 2012’s porcelain-textured costumer “Augustine.” It’s a sharp, slinky change of pace, however, given human backbone by Matthias Schoenaerts’ tightly wound performance as a Ptsd-afflicted ex-soldier hired to protect Diane Kruger’s corporate trophy wife. Schoenaerts’ current international ubiquity lends added commercial appeal to a genre pic that already doesn’t want for exportable elements; arthouse distribs should form an orderly (or disorderly) queue.
For Belgian thesp Schoenaerts, now coming off a triple-shot of English-lingo period romances — “Far From the Madding Crowd, »
- Guy Lodge
Listing the Coen Brothers, Spike Jonze, and Paul Thomas Anderson as her Bucket List of directors with whom to work, Juno Temple’s film choices are best described as eclectic. The daughter of rock and roll filmmaker Julien Temple, Juno had a creative, rebellious spirit instilled in her at an early age, and her career has reflected that greatly.
Starring opposite Matthew McConaughey in Killer Joe and Daniel Radcliffe in Horns, she’s never been one to back away from darker roles. On the other hand, she’s also completely willing to play dress-up every once and a while. You may remember her as a fairy in Maleficent or as Queen Anne, dripping in pearls and lace, in Paul W. S. Anderson’s The Three Musketeers.
- Sasha James
Matthias Schoenaerts doesn’t carry quite the air of intensity that you might expect of him after watching some of his heavier dramas. In reality, the “Rust and Bone” star is the laid back, all-smiles, and a surprisingly chatty sort, as happy to delve into the tenets of his dramatic education as he is to celebrate the comic force that is Will Ferrell. Schoenaerts’ latest film, Thomas Vinterberg’s adaptation of 19th century author Thomas Hardy’s novel “Far from the Madding Crowd,” allows the actor to show off a degree of sensitivity of which audiences might never have known him to be capable. Schoenaerts plays a strong and stoic farmhand deeply in love with his boss (Carey Mulligan), whose character is likewise the romantic pursuit of a timid landowner (Michael Sheen) and a rogue soldier (Tom Sturridge). Although we kicked off with a conversation about his work on “Far from the Madding Crowd, »
- Michael Arbeiter
New York - Matthias Schoenaerts is best known for his roles in the acclaimed French drama "Rust and Bone" alongside Marion Cotillard and in last September's thriller "The Drop" opposite Tom Hardy, but the Belgian actor has spent a good chunk of the past 18 months shooting a number of period pieces with Oscar friendly actors. The first, "A Little Chaos" with Kate Winslet, debuted at the 2015 Toronto Film Festival to not so great reviews. The second, "Suite Française" with Michele Williams, has already opened to mixed reviews in most of Europe and there currently is no U.S. release date. The third, "Far From The Madding Crowd," which finds him romancing Carey Mulligan, has earned mostly positive notices so far and opens in limited release Friday. Adapted from Thomas Hardy's classic novel, "Madding" centers on Bathsheba Everdene (Mulligan), a young woman who inherits a struggling family farm in the »
- Gregory Ellwood
Carey Mulligan proves that she can carry a movie as the incandescent and powerful Bathsheba in "The Hunt" director Thomas Vinterberg's gorgeous realization of the Thomas Hardy classic "Far from the Madding Crowd." Julie Christie played the role at the height of her powers in John Schlesinger's stormy 1967 romance. Casting is everything in this movie. Rising Belgian star Matthias Schoenaerts ("Rust and Bone") shares real chemistry with Mulligan as the stalwart and loving salt of the earth once played by Alan Bates. We're rooting for him, while Michael Sheen ("Masters of Sex") is the more mature hapless gentleman neighbor who proposes marriage (Peter Finch). The weakest link is young Tom Sturridge ("On the Road") as the rakish sergeant (Terence Stamp) who sweeps Bathsheba off her feet, which is hard to believe. The movie already opened in Vinterberg's native Denmark and some other territories, hence the early trade reviews below. »
- Anne Thompson
Takashi Miike (Yakuza Apocalypse: The Great War Of The Underworld), Fernando León de Aranoa (A Perfect Day starring Benicio del Toro, Tim Robbins, and Olga Kurylenko) and Jaco Van Dormael (a top item on our most anticipated foreign films list, The Brand New Testament stars Catherine Deneuve, Benoît Poelvoorde, Yolande Moreau) are some of the veterans filmmakers joining the previously mentioned Philippe Garrel, Miguel Gomes and Arnaud Desplechin as part the 47th edition of the Directors’ Fortnight. Edouard Waintrop’s programming team happen to be the only ones to have selected Sundance Film Festival items this year with Rick Famuyiwa‘s Dope being selected as the closing night film and Chloé Zhao‘s Songs My Brothers Taught Me finds some love as well. Fellow American filmmaker Jeremy Saulnier also joins them — after having launched Blue Ruin in the section a couple of editions back, he now returns with Green Room. »
- Eric Lavallee
New works by Jaco Van Dormael, Takashi Miike, Jeremy Saulnier and Sarunas Bartas, as well as recent Sundance entries “Dope” and “Songs My Brothers Taught Me,” are among the films set to screen in the 47th annual Directors’ Fortnight program at the Cannes Film Festival.
As announced by artistic director Edouard Waintrop at a press conference on Tuesday, the Fortnight will unspool 19 features this year — three of them directed by Portuguese helmer Miguel Gomes, whose six-hour-plus trilogy, “Arabian Nights,” was announced by the Fortnight last week, as was “My Golden Years,” the latest from French auteur Arnaud Desplechin. Both Gomes and Desplechin were turned down from the main competition and opted to take their films to the other side of the Croisette rather than accept slots in Un Certain Regard — a major coup for Waintrop that signals one of the most openly competitive years for the official selection and Directors’ Fortnight in recent memory. »
- Justin Chang
Star-studded English-language dramas from Todd Haynes, Gus Van Sant, Denis Villeneuve, Justin Kurzel, Paolo Sorrentino and Matteo Garrone will vie for the Palme d’Or alongside new films by Valerie Donzelli, Jacques Audiard, Hou Hsiao-hsien and Jia Zhangke at the 68th annual Cannes Film Festival, which unveiled its official selection lineup on Thursday.
While there are only two U.S. directors in competition — Haynes with “Carol,” a 1950s lesbian love story starring Cate Blanchett, and Van Sant with his suicide drama “The Sea of Trees,” pairing Matthew McConaughey and Ken Watanabe — this year’s Palme race looks to feature more high-profile Hollywood talent than any in recent memory. Canada’s Villeneuve (“Prisoners,” “Enemy”) will bring his Mexican drug-cartel drama “Sicario,” with Emily Blunt, Benicio Del Toro and Josh Brolin, while Australia’s Kurzel (“The Snowtown Murders”) secured a Palme berth for “Macbeth,” his Shakespeare adaptation toplining Michael Fassbender and Marion Cotillard. »
- Justin Chang and Elsa Keslassy
Director: Alan Rickman; Screenwriter: Alan Rickman, Jeremy Brock, Alison Deegan; Starring: Kate Winslet, Alan Rickman, Stanley Tucci, Jennifer Ehle, Matthias Schoenaerts, Helen McCrory; Running time: 117 mins; Certificate: 12A
The famous gardens at Versailles provide the backdrop for this dewy-eyed period romance with Kate Winslet and Matthias Schoenaerts, although they have to wade through a lot of mud before the flowers come into bloom. Alan Rickman directs in a laissez-faire style as well as playing a supporting role as the French 'Sun King' Louis Xiv who presides over their efforts to create horticultural perfection. It's the stuff of Sunday night TV drama, for winding down with tea and cake. Very civilised.
The problem is that Rickman had obviously hoped to get pulses racing with 17th-century mores creating a pressure cooker environment for landscape architect Sabine De Barra (Winslet) and the King's master landscaper Andre Le Notre (Schoenaerts) as they get to »
1-20 of 40 items from 2015 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners