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Natalie Portman's Jackie biopic and Barry Jenkins' Moonlight, for A24 and Brad Pitt's Plan B Entertainment, will compete in the Platform juried competition at next month's Toronto International Film Festival. The films will be among 12 indie titles to compete for a $25,000 prize, organizers said Thursday. Jackie, which will receive a North American premiere in Toronto, also stars Peter Sarsgaard, Greta Gerwig and John Hurt. Chilean filmmaker Pablo Larrain (No, El Club) directed the pic, his first English-language feature from a 2010 Black List screenplay by Noah Oppenheim. Moonlight, which is getting an international debut in Toronto,
- Etan Vlessing
After taking the helm of The Equalizer and this year's highly-anticipated The Magnificent Seven, filmmaker Antoine Fuqua has come aboard to direct yet another high-profile remake. The filmmaker has entered talks with Universal Pictures to direct their new version of Scarface. Filmmaker Pablo Larrain had been attached to direct back in 2014, but he is no longer involved.
Deadline reports that Antoine Fuqua is in negotiations to direct this project, which would mark the third different incarnation of this story. The original Scarface hit theaters in 1932, starring Paul Muni as Chicago gangster Tony Camonte. Al Pacino starred as Tony Montana in the iconic 1983 remake, which shifted the story to Miami. This new version will be set in modern-day Los Angeles.
The last update we had on this project was back in March 2015, when Straight Outta Compton writer Jonathan Herman came aboard to write the screenplay. Paul Attanasio and Suicide Squad writer-director »
Deadline has the scoop, confirming that Fuqua has opened negotiations with Universal to potentially offer a fresh spin on another cinema classic, given the director will soon rally The Magnificent Seven to defend Rose Creek from those pesky bandits.
Last we reported on the mooted redo, Jonathan Herman (Straight Outta Compton) was the writer attached to the script, working from previous drafts submitted by Paul Attanasio and Suicide Squad director David Ayer.
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Pitched as a reimagining of the core immigrant story, it’s understood Universal’s reboot will primarily take place in contemporary Los Angeles. Meanwhile, Marty Bregman, producer on Brian de Palma’s celebrated drugs thriller, is on board to produce with Marc Shmuger, »
- Michael Briers
Locarno — Over Aug. 6-8, 16 production companies from Brazil, Chile, Mexico, Israel and Turkey will meet at the Locarno Fest, in the Swiss Alps, to enjoy its glorious weather – if Saturday was anything to go by – multiple industry workshops and presentations and each other companies in an informal networking event, Match Me! Most companies were set up this century, many this decade. Between them, they represent many of the ambitions and concerns of young production houses in Europe and Latin America working the international fest circuit today. Here are brief profiles and five things they have in common:
“Turkey is one of the few European countries where local films have a bigger share than Hollywood films,” said Muge Ozen, who’s moving “Wedlock” and “In Five Years” at Locarno. “There’s been an incredible increase at the Israeli box office over the last couple of years, Israeli audience who preferred overseas movies, »
- John Hopewell and Emilio Mayorga
July: a time for backyard cookouts, fireworks displays, and tipsy, tearful declarations of how you — sniff — just love America so much. And streaming addicts will have plenty to salute in the month to come, whether that's Netflix trotting out a new Goonies-style mystery series and reviving a certified cult animation sensation, or tempting new film options from the folks at Amazon Prime and Hulu. No better way to beat the heat than a retreat into the safety of an air-conditioned living room, and no better way to turn that space »
Later this week, 2016 will cross the halfway mark, so now’s the time to take a look back at its first six months and round up our favorite films thus far. While the end of this year will bring personal favorites from all of our writers, think of the below 30 entries as a comprehensive rundown of what should be seen before heading into a promising fall line-up.
As a note, this feature is based solely on U.S. theatrical releases from 2016, with many currently widely available on home video, streaming platforms, or theatrically. Check them out below, as organized alphabetically, followed by honorable mentions and films to keep on your radar for the remaining summer months. One can also see the full list on Letterboxd.
Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. »
- The Film Stage
Music and Sex: Scenes from a life - A novel in progress (first chapter here).
Walter had been so busy with midterms that he hadn't gone record-shopping recently. Neither had he spent his income on anything else, other than eating on the weekends, though he'd eaten better than usual. He'd wandered into a fast-food place on Broadway called Amy's and, for the first time in his life, had tried a falafel sandwich. Well, not really a sandwich, at least not as he thought of a sandwich, which was (mostly) meat between two separate pieces of bread, but he didn't know what else to call these things stuffed into pita bread. He'd liked it, not least because just one sandwich was very filling, so he had gone back regularly for lunch on weekends. It was a nice change of pace from the food at John Jay cafeteria. There never seemed to be many customers, »
Hélene Grimaud Water: Berio: Wasserklavier: Sawhney: Water: Transitions 1-7; Takemitsu: Rain Tree Sketch No. 2; Fauré: Barcarolle No. 5; Ravel: Jeux d'eau; Albéniz: Almeria; Liszt: Les Jeux d'eaux a la Villa d'Este; Janáček: In the Mist: No. 1; Debussy: La Cathedrale engloutie (Deutsche Grammophon) Classical purists be warned: almost half the tracks here are not the solo piano recital you might expect from the billing. Instead, Grimaud had composer Nitin Sawhney create electronic bridging miniatures (ranging from 0:56 to 1:41) fitted between the solo piano tracks. This works wonderfully well, changing this album from a traditional presentation into a moody soundscape (though the purist crowd was quick to take offense, witness the extremely snarky review on classicstoday.com). Of course, Grimaud is her usual scintillating self on the solo piano pieces. The pieces she has chosen for this thematic program are in a couple of cases "usual suspects" -- the Ravel and Debussy »
The Cannes Film Festival doesn’t much care what the American public likes. Hollywood entries at Cannes 2016, which included recent releases “Money Monster and “The Nice Guys,” played out of competition. And most of the award winners won’t register at the North American box office, no matter how much the critics adore them.
However, there was another set of movies at Cannes. While largely ignored by the jury, these titles have serious aspirations to make a mark at the arthouse this year — and at the Oscars next year. They’re the Cannes films you’re most likely to see.
Here’s our ranking of the movies with distributors that most likely to reach a sizable North American audience this fall.
- Anne Thompson and Graham Winfrey
The closing ceremony brought about a sigh of ‘I knew it’ disappointment as this year’s quasi-unanimous favourite “Toni Erdmann” failed to pick up a single award, while “I, Daniel Blake”, a mawkish feel-bad movie, so utterly predictable and artistically vapid, so tedious that it is hard to hate but is instead best watched as a bland medicine, took home the top prize. The 2016 jury seems to have inherited their forerunner’s perverse pleasure in rewarding a film nobody cared for much. Well done on managing to outrage the minuscule segment of humanity that gives a rat’s tail about Cannes palmarès.
The subaltern at Cannes (i.e. the press) do get the need to the Jury to leave their stamp of originality, and though they supposed to not read any reactions on the films in competition, they nonetheless seem to take a childishly perverse pride in stumping ‘predictions’. By now, »
- Zornitsa Staneva
It’s that time of year — Emmy season is almost upon us. Before the race for TV’s top trophy takes off in earnest, Variety takes a look at nine key categories and breaks down which of last year’s nominees are in and out of the running and which newcomers have already made an impact on the kudos landscape.
What’s out: AMC’s “Mad Men” retired after seven seasons and eight series noms.
What’s back: AMC’s “Better Call Saul”; PBS’ “Downton Abbey”; Showtime’s “Homeland”; Netflix’s “House of Cards” and “Orange Is the New Black”; and HBO’s reigning champ, “Game of Thrones,” are all eligible again.
Looking to return: CBS’ “The Good Wife,” last nominated in 2011, has one final chance to make its case.
What’s new: Among freshmen contenders, USA’s “Mr. Robot” has a leg up thanks to a Golden Globe victory, »
- Geoff Berkshire
After nearly two weeks of viewing some of the best that cinema will have to offer this year, the 69th Cannes Film Festival has concluded. With Ken Loach‘s I, Daniel Blake taking the top jury prize of Palme d’Or (full list of winners here), we’ve set out to wrap up our experience with our 10 favorite films from the festival, which extends to the Un Certain Regard and Directors’ Fortnight side bars.
It should be noted that The Nice Guys, which screened out of competition, was among our favorites of the festival (review here), but, considering it’s now in wide release, we’ve elected to give room to other titles. Check out our top 13 films below, followed by the rest of the reviews and all of our features. One can also return in the coming months as we learn of distribution news for all of the mentioned films. »
- The Film Stage
Cannes — Rodrigo Teixeira’s Rt Features, an “Indignation” and “Little Men” producer and Martin Scorsese co-producer on Josh and Benny Sadie’s “Uncut Gems,” has boarded “Late To Die Young,” from Dominga Sotomayor, a double Rotterdam Tiger winner with “Thursday Till Sunday,” her debut, and “The Island,” which she co-directed.
Produced by Sotomayor’s Santiago de Chile-based Cinestacion and Rt Features, and set for a first-half 2017 shoot, the Sundance and Rotterdam Hubert Bals Fund-backed “Too Late” is a coming of age tale about three adolescents, set in an isolated rural community in the context of Chile’s return to democracy, Sotomayor told Variety.
She added:“The alliance allows us to shoot soon; also, I admire the films Rt Features is producing, its involvement, for example, in the next Kiarostami. »
- John Hopewell
Bursting onto the scene at 2005’s Valdivia Festival, a remarkable generation of young Chilean directors is building that splashy debut into more glory.
Pablo Larrain’s “No” took Cannes’ Directors’ Fortnight award in 2012 and then snagged a foreign-language film Oscar nom; vengeance thriller “To Kill a Man,” from Alejandro Fernandez Almendras, won Sundance’s 2014 World Cinema Grand Jury Prize. This February, “Bear Story” snagged the animated short Oscar. Picturing Nobel Prize-winning poet Pablo Neruda on the run from the police in 1946-48, Larrain’s “Neruda” is already one the 2016 Directors’ Fortnight most anticipated titles.
However, Chile wants more: To leverage fest laurels into substantial foreign market B.O. A pioneering study, “Global Audiences of Chilean Cinema,” to be presented at this year’s Cannes Festival, aims to further this. Focusing on Chilean cinema’s 2013 international box office, it encapsulates fundamental trends, opportunities and challenges now facing most foreign-language cinema worldwide »
- John Hopewell
Pablo Larraín is not finished wrestling with his nation’s psyche. His first three films, Tony Manero, Post Mortem, and No, formed a loose triptych that confronted the trauma of the Augusto Pinochet years from different angles. His fourth, The Club, was a blistering attack against the contemporary institution of the Catholic Church in Chile, which accused it of deep-seated corruption and of collusion with the Pinochet regime. With Neruda he returns to the past, back to 1948, the year the eminent poet and Communist senator Pablo Neruda (Luis Gnecco) went into hiding after the Chilean president outlawed Communism in the country.
As radical a reinvention of the biopic as Todd Haynes’ I’m Not There, Neruda is Larraín’s most conceptual and also his most demanding film yet. Like Haynes, Larraín attempts to create a hybrid between his subject’s art and biography, and, like Haynes’ film, Larraín’s is »
- Giovanni Marchini Camia
So far the Hollywood movies screening at Cannes —Woody Allen's romantic roundelay "Cafe Society," starring Kristen Stewart, Shane Black's hit-man comedy "Nice Guys" starring Ryan Gosling, and Jodie Foster's Wall Street thriller "Money Monster" starring George Clooney and Julia Roberts—have played out of competition, more as red-carpet plays and marketing junkets than surefire Oscar launches. Other movies registering strongly at the festival will play the stateside art-house circuit to build up their awards cred: Jim Jarmusch's low-key poetic meditation "Paterson" (Amazon Studios), carried by actor Adam Driver, and Maron Ade's "Toni Erdmann," acquired by Sony Pictures Classics, which along with Andrea Arnold's "American Honey" (A24) could be in line for a Cannes prize. A possible foreign Oscar entry from Chile is director Pablo Larrain's "Neruda" (The Orchard), in Directors Fortnight, whose 2012 film "No" »
- Anne Thompson
The North American deal on the true-life drama follows the world premiere of Pablo Larraín’s film in Directors’ Fortnight on Friday.
Larraín’s return to the Croisette after 2012 Competition selection No (Tony Manero premiered in Director’s Fortnight in 2007) tells of how the Chilean poet and Nobel Prize-winner Pablo Neruda took on the Chilean government in Cold War 1948 and engaged in a game of cat-and-mouse with a police inspector.
Participant Media co-financed Neruda in association with Chile’s Fabula, France’s Funny Balloons, which also represents international sales, as well as Argentina’s Az Films, and Spain’s Setembro Cine.
- firstname.lastname@example.org (Jeremy Kay)
Pablo Larrain is no stranger to Cannes, and is here with Neruda, following on from his widely-acclaimed No (2012) and Post Mortem (2010). As with his previous films, Larrain contends with political conflict in Chile, a history which no doubt will provide fodder for further movies by this increasingly brilliant director. This time he
The post Cannes 2016: Neruda Review appeared first on HeyUGuys. »
- Jo-Ann Titmarsh
The Orchard has acquired the North American distribution rights to Pablo Larrain‘s “Neruda” from Participant Media, the latter announced Saturday. “Neruda” premiered on Friday at Cannes Film Festival, and the director was last in Cannes with “No,” which went on to receive an Academy Award nomination for Best Foreign Language Film. Written by Guillermo Calderon, “Neruda” stars Gael Garcia Bernal, Luis Gnecco and Mercedes Moran. It is produced by Juan de Dios Larrain. Also Read: Tribeca Film Festival's Love Stories Get Messy and Sad The film is set in 1948 shortly after the Cold War has reached Chile. Senator Pablo Neruda accuses the government. »
- Beatrice Verhoeven
At a time when there isn't much left to buy, rising distributor The Orchard picked up North American distribution rights from Participant Media to Pablo Larrain’s stylized "anti-biopic" "Neruda," which premiered Friday to strong reviews in Cannes in the Directors' Fortnight section. The Orchard plans an awards-friendly fall release for the film. Larraín, Luis Gnecco and García Bernal reunited after working together on "No," which debuted in Cannes en route to an Oscar nomination. Written by Guillermo Calderon, "Neruda" is set in Chile in 1948. The movie launches with a meeting of the Chilean government — in a gigantic men's room. Communist Senator Neruda (Gnecco) tries to survive politically via his enormous charm and fame as a world-renowned poet. But the government impeaches him. And President Videla sends police Prefect Óscar »
- Anne Thompson
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