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Schoenaerts has chosen to devote his attention to an upcoming Us project at this time, said a statement from Ghent-based Menuet.
A replacement will be announced ahead of the shoot, which will begin on December 1 in Ghent.
He will also star in Alan Rickman’s A Little Chaos, which will close the Toronto film festival in September; romantic war drama Suite Francaise; and novel adaptation Far from the Madding Crowd, directed by [link »
- firstname.lastname@example.org (Michael Rosser)
In the early 20th century, when the public’s love affair with cinema began, we were first introduced to this beguiling new art form through its stars, and this is exactly how the powers that be wanted it. When the Hollywood studios ran the film industry like a tightly controlled, upper-class bordello, the emphasis was placed on the faces you could see, the actors, and a films director existed in some theoretical dark corner of the silver screen, practicing some ethereal cinematic wizardry that the plebeian film fan could never even hope to understand. As the Hepburns’, Davis’, Borgarts’, and Gables’ of the world began to age though, and their box office power diminished, the studios were briefly forced to let the inmates run the prison, handing over the keys to the pesky directors. Suddenly, the auteur was born.
While technically speaking, Auteur Theory, the belief that a »
- Christopher Lominac
Moviefone's Top DVD of the Week
"Masters of Sex: Season One"
Why We're In: There's a fair amount of onscreen sexiness, but the nuanced look at humanity and sexuality is what has made this a must-see cable drama.
Moviefone's Top Blu-ray of the Week
"A Hard Day's Night (Criterion)"
What's It About? This movie musical stars the Beatles as goofier versions of themselves, just as they're becoming the legendary band we all know and love.
Why We're In: Fancy digital restoration, fancy audio updates, interviews, a making-of doc, and more make this a must-have for fans of the Beatles or musicals or anything that's fun and cool.
New on DVD & Blu-ray
"300: Rise of An Empire"
What's It About? Based on Frank Miller's graphic novel, this »
- Jenni Miller
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
A fearful bride runs madly from right to left; a breathless young man runs madly from left to right. They converge, entwined with desire, and ride off on a motorbike accompanied by blaring rock music. Whew — at least nobody expects demure from Tony Gatlif, whose latest feature, “Geronimo,” is a “West Side Story” update about a social educator trying to prevent all-out war between the families of an illicit couple. Driven as always by spirited music, the helmer remains unsurprisingly true to himself, meaning French play could be strong, but few Stateside arthouses will be crying, “Geronimo!”
Gatlif claims he’s never felt freer than during the making of this film, largely shot outdoors or in a vast abandoned factory that allowed him to think about the action in full 360-degree terms. Not that there’s much circling of the camera (thankfully), though there is a vigorous sense of space. »
- Jay Weissberg
Before the first competition title had even unspooled at this year’s Cannes Film Festival, more than one oddsmaker suggested that there was already a serious frontrunner for the Palme d’Or, and it was clearly Naomi Kawase. A Cannes competition regular whose strenuously meditative, nature-obsessed art films have already earned her the Camera d’Or and the Grand Prix, the Japanese director would finally bring home the big one, the logic went, not because “Still the Water” was such a masterpiece (although Kawase, with almost admirable immodesty, had no problem characterizing it as such), but rather because she happens to be a woman. And with Jane Campion presiding over this year’s festival jury, surely we would not be denied the spectacle of the first female director to win the Palme d’Or personally anointing the second — and far more likely that it would be Kawase than the younger, »
- Justin Chang
Announcing its fifth U.S. sale in three weeks –- Shout! Factory’s pickup on 3D toon pic “The House of Magic” –- Studiocanal, Europe’s biggest film production-distribution force, has had its best Cannes ever.
But Studiocanal also rolled off strength in depth across a 16-pic sales slate, including first sales for Luca Guadagnino’s untitled thriller, starring Ralph Fiennes, Tilda Swinton, Margot Robbie (“The Wolf of Wall Street”) and Matthias Schoenaerts (“Rust and Bone”).
Equally important, 2014’s Cannes fully underscored that Hollywood agents and indie distributors are now increasingly shy of committing clients and money, respectively, to movies coming on to the market only partly financed. »
- John Hopewell and Elsa Keslassy
Following this morning's world premiere of Jean-Pierre and Luc Dardenne's "Two Days, One Night" at the 2014 Cannes Film Festival, Marion Cotillard is now unquestionably a front-runner for an award from this year's jury led by Jane Campion. Cotillard made history as the first French actress to win the Best Actress Oscar (for "La Vie en Rose") for a French language performance, but she has yet to win that same honor at the festival, despite powerful performances in a number of films that have premiered in competition over the years, including "Rust and Bone," and last year's "The Immigrant," which opened in select U.S. theaters last Friday. Read More: Marion Cotillard on Learning a Whole New Language to Play a Polish Prostitute in ‘The Immigrant’ In "Two Days, One Night," Cotillard appears in every scene as Sandra, a mother who learns that she'll be laid off from her job »
- Nigel M Smith
Alright folks, the Cannes Film Festival is still underway and we a trio of new projects that have been announced from the Croisette. Although he’s been keeping busy with various ad campaigns and even co-directed a documentary on Bernardo Bertolucci (review here), it’s still been nearly five years since Luca Guadagnino’s last narrative feature, the sublime “I Am Love.” Thankfully, Deadline reports Studiocanal is putting its weight behind the director’s new film, an as-of-yet untitled “sexy thriller” that’s set in “the Italian island of Pantelleria.” While no other plot details are known, the trade reports Guadagnino is reuniting with Tilda Swinton and bringing along Ralph Fiennes, Margot Robbie ("Wolf Of Wall Street") and Matthias Schoenaerts (“Rust and Bone” and “Bullhead”). Where this leaves his planned adaptation of “A Reliable Wife” is unclear. He may be known stateside for a pair of mediorcre Mark Walhberg movies – “Contraband” and “2 Guns” – but Baltasar. »
- Cain Rodriguez
Academy Award-winner Emma Thompson (Saving Mr. Banks, the Harry Potter series), and actors Daniel Brühl (Rush, Inglourious Basterds), and Mark Rylance (The Other Boelyn Girl) have been confirmed to star in Vincent Pérez’s Alone In Berlin.
Based on a true story, Hans Fallada’s powerful and redemptive novel, written shortly after the Second World War describes a city paralyzed by fear. Otto and Anna Quangel are an ordinary couple living in a shabby apartment block in Berlin trying, like everyone else, to stay out of trouble under Nazi rule. But when their only child is killed fighting at the front, their loss propels them into an extraordinary act of resistance. They start to drop anonymous postcards all over the city attacking Hitler and his regime. If caught, it means certain execution. Soon their campaign comes to the attention of the Gestapo inspector, Escherich, and a murderous game of cat-and-mouse begins. »
- Michelle McCue
Studiocanal has brought two new, high-profile films onto the market at Cannes. Both pics say much about the strategic choices that Studiocanal, which handles the biggest movie production budget of any company in Europe, is now taking.
James Watkins (“Woman in Black”) will direct “Bastille Day,” a Paris-set action thriller starring Idris Elba, above, (“Luther”) and Adele Exarchopoulos (“Blue Is the Warmest Color”). Philippe Rousselet’s Vendome Pictures (“Source Code”) will produce along with Steve Golin’s Anonymous Content (“Babel,” “True Detective”).
Unveiling a promo-reel on May 14 at Cannes, Studiocanal also confirmed that Ralph Fiennes, Tilda Swinton, Margot Robbie (“The Wolf of Wall Street”) and Matthias Schoenaerts (“Rust and Bone”) will topline the first English-language fiction feature from Italy’s Luca Guadagnino (“I Am Love”). Former Sony and Scott Free exec Michael Costigan will produce.
Written by Dave Kajanich, and set on the Mediterranean island of Pantelleria, south of Guadagnino’s native Sicily, »
- John Hopewell and Elsa Keslassy
The film will be co-produced by FilmWave’s Christian Grass and Paul Trijbits who are also handling the UK rights.
X-Filme retains the German rights and Master Movie the French rights, with Alison Thompsons’ Sunray Films handling international sales and distribution for all other territories.
X Verleih, the distribution arm of X-Filme, will distribute in Germany while Pathe will release in France.
- email@example.com (Andreas Wiseman)
Cannes — Emma Thompson (“Saving Mr. Banks”), Daniel Bruhl (“Rush”) and Mark Rylance (“The Other Boleyn Girl”) have been confirmed to star in Vincent Perez’s “Alone in Berlin.” Alison Thompson’s Sunray Films is selling the film in Cannes.
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”), with a screenplay written by Achim von Borries (“Good Bye Lenin!”) and Perez.
The film will be co-produced by FilmWave’s Christian Grass and Paul Trijbits, who are also handling the U.K. rights. X-Filme retains the German rights and Master Movie the French rights, with Sunray Films handling international sales and distribution for all other territories. X Verleih, which is the distribution arm of X-Film, will release in Germany.
“Alone in Berlin” will start pre-production during the winter of 2014 in Germany. »
- Leo Barraclough
In the opening moments of The Immigrant, James Gray's operatic epic set in 1920s New York, two women stand in line at Ellis Island after an arduous transatlantic journey. They converse in Polish, keeping each other's spirits up by imagining happier times ahead. Their skin is pale and plain, their drab clothes nearly indistinguishable from darkness of the room. It's really only when one of the women breaks into a smile, her round face alighting just so, that you realize you're watching Marion Cotillard.
61 Reasons to Be Excited About »
It is the voice — lilting, lightly French-accented — that one notices first, even before fully registering the famous face. You notice it because, in the movies, Marion Cotillard so rarely sounds like herself, whether affecting Edith Piaf’s nasal warble in her Oscar-winning performance in “La Vie en Rose,” the Polish dialect of the 1920s Ellis Island emigre in director James Gray’s “The Immigrant,” or her Belgian regional accent as a downsized factory worker in Luc and Jean-Pierre Dardenne’s “Two Days, One Night,” which premieres this week in competition at the
67th Cannes Film Festival.
If voice is one of an actor’s most valuable instruments, Cotillard plays hers like a first-chair virtuoso. Early in the shooting of “The Immigrant” (which debuts in the U.S. May 16), Gray asked Polish actress Maja Wampuszyc, who plays Cotillard’s aunt in the film, to evaluate the French actress’s command of Wampuszyc’s native language. »
- Scott Foundas
Marion Cotillard is never one to back down from a challenge. For her breakout, Oscar-winning role in "La Vie en Rose," the actress mastered Édith Piaf’s vocal delivery to believably portray the icon. A few years later, for Jacques Audiard's drama "Rust and Bone," Cotillard, a novice swimmer, learned to become a strong one in a matter of weeks in order to play a whale trainer. The challenge she set out for herself in James Gray's period drama "The Immigrant" trumps anything the actress has attempted before. For the film, which opens this Friday in select theaters, Cotillard had to learn a whole new language. As Ewa, the titular illegal Polish immigrant forced into prostitution by Joaquin Phoenix's character after arriving in New York in 1921, Cotillard gives a powerfully subdued performance full of hurt and anger that many are citing as her biggest achievement since portraying Piaf. »
- Nigel M Smith
Welcome back to Cannes Check, In Contention's annual preview of the films in Competition at next month's Cannes Film Festival, which kicks off on May 14. Taking on different selections every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Jane Campion's jury. Next up: Jean-Pierre and Luc Dardenne's "Two Days, One Night." The directors: Jean-Pierre and Luc Dardenne (Belgian, 63 and 60 years old). World cinema's favorite fraternal directing duo, and the pre-eminent figures in Belgium's spotty filmmaking history, the pair grew up in the French-speaking Wallonia district, studied drama and philosophy respectively, and co-founded the Derives documentary production company in 1977 -- it stands to this day. After a decade of non-fiction work, they made their first narrative feature, "Falsch," in 1987; their third feature, 1996's "La Promesse," proved the breakthrough, premiering at Toronto, winning a couple of major Us critics' awards, »
- Guy Lodge
William Shakespeare’s tragedy Macbeth has seen several terrific big-screen versions, tackled by directors as esteemed as Orson Welles, Roman Polanski and Akira Kurosawa. The tale of murder and paranoia, featuring one of the most maniacal female villains in all of literature (Lady Macbeth), is a work that continues to inspire and influence storytelling to this day. In fact, many culture commentators have noted that the relationship between Frank and Claire Underwood on House of Cards has shades of the power-hungry, conniving characters from Shakespeare’s classic.
Now, a new film adaptation of the beloved tragedy is set to hit theatres either later this year or early in 2015, with Michael Fassbender as Macbeth and Marion Cotillard as Lady Macbeth. The first photos of the adaptation have arrived online today (you can find them above and below) and they indicate just how dark and depraved director Justin Kerzel (Snowtown) is going with the already macabre material. »
- Jordan Adler
There were few surprises to be had at this morning’s announcement of the Competition, Un Certain Regard and Special Screenings sections for the 2014 Cannes Film Festival — perhaps barring Fremaux’s proud, misleading assurance that a whopping 15 female directors were included in the lineup, which is evidently French for eight. Familiar faces returning to the Croisette include Assayas, Cronenberg, Zvyaginstev, Bilge Ceylan, Hazanavicius, Egoyan, Loach, Leigh and the Dardennes, whose Two Days, One Night may prove to be Marion Cotillard’s successful shot at the Best Actress title, after snubs for Rust and Bone and The Immigrant. The two American titles in Competition […] »
- Sarah Salovaara
Although films like Bennett Miller’s “Foxcatcher” and David Cronenberg’s “Maps to the Stars” look like Cannes shoo-ins, the festival’s 2014 lineup is still very much a work in progress. That hasn’t stopped Variety’s top film critics from naming what they’d like to see included when the official selection is announced April 17.
When people talk of ambition in Hollywood, they usually mean big budgets and visual effects, but what impresses me about Anderson is his ability to render cinematic the most challenging of subjects — from Scientology to, in this case, a Thomas Pynchon novel.
“A Pigeon Sat on a Branch Reflecting on Existence,” Roy Andersson
It takes the Swedish master so long to make his meticulously composed absurdist satires that there have only been two in my lifetime: “Songs From the Second Floor” and “You, the Living. »
- Variety Staff
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