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2017 | 2016 | 2015 | 2014 | 2013 | 2012

1-20 of 58 items from 2017   « Prev | Next »


Linda Hamilton Starring as Crime Matriarch in Drama ‘Easy Does It’

12 July 2017 6:07 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Linda Hamilton is starring as a ruthless crime matriarch in the road drama movie, “Easy Does It,” currently shooting in Louisiana.

Easy Does It” is a co-production between Efi Productions and Worklight Pictures with Lizzie Guitreau producing and Alexa Georges exec producing. It marks the feature directorial debut of filmmaker Will Addison, who co-wrote the script with Ben Matheny.

“I love working with new talented directors, and seeing works that are personal and so hard-won come into full bloom,” Hamilton said.

Easy Does It” centers on Hamilton’s King George character sending her daughter and personal bounty hunter on a cross-country chase after the film’s anti-heroes, portrayed by Matheny and Matthew Martinez. The daughter is portrayed by Susan Gordon. Bryan Batt (“Mad Men”) plays a cocky cop and Dwight Henry (“Beasts of the Southern Wild”) portray a weary sheriff who is also in pursuit.

Addison said, “It’s a weird and wild role and Linda is »

- Dave McNary

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Karlovy Vary: Luxbox Rolls Out Robust Intl. Sales on Jonas Carpignano’s Martin Scorsese Exec-Produced ‘A Ciambra’ (Exclusive)

29 June 2017 11:38 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Paris-based Luxbox has rolled out robust early international sales on New York-born Jonas Carpignano’s “A Ciambra,” a 2017 Cannes Directors’ Fortnight winner which also marks the first fruit of the Emerging Film Fund, a joint initiative between Martin Scorsese and Sikelia producer partner Emma Koskoff and Rodrigo Teixeira’s Brazil-based Rt Features.

Picked up at the Cannes Festival by IFC’s Sundance Selects for North America, in a deal negotiated by Wme on behalf of the filmmakers, “A Ciambra” will now play Horizons at the Karlovy Vary Festival, which kicks off June 29. It won the prestigious Europa Cinemas Label Award for best European film at this year’s Directors’ Fortnight.

The international sales on “A Ciambra,” put through by Luxbox, will only enhance Carpignano’s reputation as a young filmmaker with a voice – as a kind of modern-day Italian neo-realist – and a burgeoning industry audience, which includes high-caliber backers along the whole industry value chain from development »

- John Hopewell

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‘The Florida Project’: A24 Launches the Likely Oscar Contender This October

12 June 2017 10:25 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

“Moonlight” distributor A24 has found a release date for its big Cannes buy, Director’s Fortnight entry “The Florida Project.” October 6th falls right after a fresh round of media attention coming out of likely play at the Telluride and Toronto film festivals in the course of an inevitable Oscar push. (Read IndieWire’s review.)

For Sean Baker’s follow-up to iPhone movie “Tangerine,” he returned to a project he started researching with co-writer Chris Bergoch back in 2013. (This time, he shot in 35 mm.) Only after “Tangerine” could he score financing for another look at outsiders living on the margins of society.

Read More: The Florida Project Review: Sean Baker’s Follow-Up to ‘Tangerine’ Delivers

The duo was fascinated by a strip of Orlando’s budget motels on Route 92, just a mile away from Disneyworld. Once designed to lure tourists, they now teem with families on the edge. Instead of E-rides, »

- Anne Thompson

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‘The Florida Project’: A24 Launches the Likely Oscar Contender This October

12 June 2017 10:25 AM, PDT | Indiewire | See recent Indiewire news »

“Moonlight” distributor A24 has found a release date for its big Cannes buy, Director’s Fortnight entry “The Florida Project.” October 6th falls right after a fresh round of media attention coming out of likely play at the Telluride and Toronto film festivals in the course of an inevitable Oscar push. (Read IndieWire’s review.)

For Sean Baker’s follow-up to iPhone movie “Tangerine,” he returned to a project he started researching with co-writer Chris Bergoch back in 2013. (This time, he shot in 35 mm.) Only after “Tangerine” could he score financing for another look at outsiders living on the margins of society.

Read More: The Florida Project Review: Sean Baker’s Follow-Up to ‘Tangerine’ Delivers

The duo was fascinated by a strip of Orlando’s budget motels on Route 92, just a mile away from Disneyworld. Once designed to lure tourists, they now teem with families on the edge. Instead of E-rides, »

- Anne Thompson

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TV Hijacks Film Fests for High-Profile Bows

12 June 2017 10:15 AM, PDT | Variety - TV News | See recent Variety - TV News news »

As rival top-tier film festivals across the globe began to program episodic television, Cannes’ artistic director Thierry Fremaux remained a notable holdout — until recently.

Earlier this year, he relented and invited David Lynch’s “Twin Peaks” TV reboot and Jane Campion’s “Top of the Lake 2: China Girl” to the Croisette for special screenings, the former with full red-carpet treatment. In April, Fremaux explained to Variety that while he is “not a big fan of series,” he justified the inclusion of Campion and Lynch as auteurs who are experimenting with “new narrative means.”

“Cinema remains a singular art, and we want to emphasize this while keeping our eyes open on the world that surrounds it,” Fremaux says. “And this world is more and more about TV series and virtual reality.”

Fremaux’s desire to keep the “film” in “film festival” was admirable, but possibly futile. Sundance, Toronto, Tribeca, South by Southwest, Berlin »

- Addie Morfoot

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Which titles from Cannes will contend for Oscar glory this year?

5 June 2017 11:11 AM, PDT | Hollywoodnews.com | See recent Hollywoodnews.com news »

With the 2017 Cannes Film Festival now firmly in our rearview mirror, some analysis of what the fest gave us can now be done. Specifically, did any Oscar players emerge from the south of France? Cannes tends to not be the festival to look at if you’re hoping to establish any trends in the still to come precursor season, but it’s also not completely worth dismissing. That sort of puts it in no man’s land, so to speak. Still, it’s worthwhile to take a look at if anything Academy Award centric opened up there. Cannes gives an air of prestige to everything it touches, so there’s that to factor in as well. Historically, it is somewhat rare for any Best Picture winners to emerge out of Cannes. It can happen on occasion, like with No Country for Old Men, but realistically, that’s not its strength. »

- Joey Magidson

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Why Sean Baker’s ‘The Florida Project’ Was the Hot Buy of Cannes

30 May 2017 7:04 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Moonlight” distributor A24 landed the top English-language acquisition title at Cannes, Director’s Fortnight entry “The Florida Project.” Sean Baker’s follow-up to iPhone movie “Tangerine,” he returned to a project he started researching with co-writer Chris Bergoch back in 2013. (This time, he shot in 35 mm.) Only after “Tangerine” could he score financing for another look at outsiders living on the margins of society.

The duo was fascinated by a strip of Orlando’s budget motels on Route 92, just a mile away from Disneyworld. Once designed to lure tourists, they now teem with families on the edge. Instead of E-rides, the kids find their fun in spitting on cars, peeking at topless bathers, stalking grazing cows, and panhandling for soft-serve ice cream to slurp before it melts in the blazing heat.

Baker had long wanted to make a film about children “that focused on their resilience, their innocence, and their comic nature, »

- Anne Thompson

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Why Sean Baker’s ‘The Florida Project’ Was the Hot Buy of Cannes

30 May 2017 7:04 AM, PDT | Indiewire | See recent Indiewire news »

“Moonlight” distributor A24 landed the top English-language acquisition title at Cannes, Director’s Fortnight entry “The Florida Project.” For Sean Baker’s follow-up to iPhone movie “Tangerine,” he returned to a project he started researching with co-writer Chris Bergoch back in 2013. (This time, he shot in 35 mm.) Only after “Tangerine” could he score financing for another look at outsiders living on the margins of society.

The duo was fascinated by a strip of Orlando’s budget motels on Route 92, just a mile away from Disneyworld. Once designed to lure tourists, they now teem with families on the edge. Instead of E-rides, the kids find their fun in spitting on cars, peeking at topless bathers, stalking grazing cows, and panhandling for soft-serve ice cream to slurp before it melts in the blazing heat.

Baker had long wanted to make a film about children “that focused on their resilience, their innocence, and their comic nature, »

- Anne Thompson

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Oscar Race at Cannes: Here Are the Winners and Losers

28 May 2017 12:30 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

After all the red-carpet lineups, anxious security delays, gala black-tie dinners, multilingual press conferences, beachside afterparties, and yacht interviews, who came out ahead at Cannes? Several international filmmakers emerged with higher profiles; hot-ticket English-language title “The Florida Project” finally sold (after days of price-lowering anxiety) to American indie du jour A24 — but when it came to Oscars, Cannes delivered only a handful of contenders.

The lion’s share of this year’s downbeat program, rife with suicidal tendencies and abused children, will never be heard from again stateside. The most entertaining material came from two TV sequels from favorite Cannes auteurs: David Lynch’s return to “Twin Peaks” and Jane Campion’s “Top of the Lake: China Girl,” starring Elisabeth Moss and the ubiquitous Nicole Kidman, who took home a well-deserved special Cannes jury prize on Sunday.

And Mexico’s Three Amigos, with no feature films in the selection, »

- Anne Thompson

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Oscar Race at Cannes: Here Are the Winners and Losers

28 May 2017 12:30 PM, PDT | Indiewire | See recent Indiewire news »

After all the red-carpet lineups, anxious security delays, gala black-tie dinners, multilingual press conferences, beachside afterparties, and yacht interviews, who came out ahead at Cannes? Several international filmmakers emerged with higher profiles; hot-ticket English-language title “The Florida Project” finally sold (after days of price-lowering anxiety) to American indie du jour A24 — but when it came to Oscars, Cannes delivered only a handful of contenders.

The lion’s share of this year’s downbeat program, rife with suicidal tendencies and abused children, will never be heard from again stateside. The most entertaining material came from two TV sequels from favorite Cannes auteurs: David Lynch’s return to “Twin Peaks” and Jane Campion’s “Top of the Lake: China Girl,” starring Elisabeth Moss and the ubiquitous Nicole Kidman, who took home a well-deserved special Cannes jury prize on Sunday.

And Mexico’s Three Amigos, with no feature films in the selection, »

- Anne Thompson

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Why This Year’s Cannes Lineup May Be Too Edgy for Oscar

26 May 2017 11:25 AM, PDT | Variety - Film News | See recent Variety - Film News news »

For me, tweeting praise for a film at Cannes tends to elicit a two-tiered response from excited movie fans far away from the Croisette. First, quite understandably, come the general exclamations of euphoria and relief that a beloved director or star hasn’t dropped the ball. For days, my mentions will be full of vicarious celebration and can’t-wait-to-see-this buzz from devotees of Sofia Coppola (on wicked form with “The Beguiled”) and Robert Pattinson (hitting a career peak in “Good Time”), which is as it should be. At the same time, however, the good news is met with a more complicated query, usually worded along these lines: “Glad to hear it’s great! Oscar chances?”

As I wrote in my festival preview, Cannes is a festival of mixed fortunes for awards-season geeks: Though it occasionally mints a future titan like “The Artist” or “No Country for Old Men,” its programming »

- Guy Lodge

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Cannes: Chloe Zhao’s ‘The Rider’ Tops Cannes’ Directors’ Fortnight

26 May 2017 10:15 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Cannes — Chloe Zhao’s “The Rider,” Sony Pictures Classics’ second pick-up at this year’s Cannes Festival, won the Art Cinema Award, the top prize at Cannes’ Directors’ Fortnight.

In further plaudits, all given by the section’s sponsors, Jonas Carpignano’s neo-realist migrant drama “A Ciambra,” executive-produced by Martin Scorsese, won the Europa Cinemas Label Award, open to all European titles in Directors’ Fortnight.

Granted by France’s Society of Dramatic Authors and Composers, the Sacd Award for best French film in Directors’ Fortnight was shared by two titles from leading Gallic auteurs: Philippe Garrel’s “Lover for a Day” and Claire Denis’ “Let the Sunshine In.”

Directed by Zhao, a Chinese-American, and capturing a fast-disappearing part of Americana, “The Rider” charts the frustrated dreams of a South Dakota rodeo rider, played by real-life cowboy Brady Jandreau. “The Rider” also marks a return to Directors’ Fortnight for China’s »

- John Hopewell

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Cannes: Oscilloscope Buys Pyrotechnic Documentary ‘Brimstone and Glory’

26 May 2017 7:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Oscilloscope has bought North American rights to Viktor Jakovleski’s documentary “Brimstone & Glory” for release later this year.

The film focuses on the National Pyrotechnic Festival in Tultepec, Mexico, a 10-day celebration of San Juan de Dios, patron saint of firework makers. Artisans show off their technical virtuosity and dozens of teams build larger-than-life papier-mâché bulls to parade into the town square, adorned with fireworks that blow up in all directions. More than three quarters of Tultepec’s residents work in pyrotechnics.

Oscilloscope’s Dan Berger said, “‘Brimstone & Glory’ is not just an epic feast for the eyes and the ears (though it is that), it’s a brilliant display of portraiture. It introduces us to people and a community — intimately, intensely, and beautifully – and sets the stage for a long career for Viktor. I have no doubt this is just the beginning.”

Producers are Dan Janvey, Elizabeth Lodge Stepp, »

- Dave McNary

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Sean Baker's "The Florida Project" Rocks Cannes

26 May 2017 5:01 AM, PDT | FilmExperience | See recent FilmExperience news »

Chris here. For films outside of the main competition, this year has been an unusually quiet Cannes. One film that has stuck out and stirred our immediate anticipation is Sean Baker's The Florida Project in the Director's Fortnight sidebar, as unanimously praised as anything on the Croisette thus far. Baker returns to 35Mm after his iPhone experiment for a hopeful portrayal of a youth and poverty with Disney World in the background. Word is he has delivered something gorgeous and heartbreaking, with major breakthrough performances from Brooklynn Prince and Bria Vinaite. Whether or not Florida takes Baker to the next level stateside, I'd bank on his chances to enter the main competition should he return to Cannes for his next feature.

As if anything from Baker post-Tangerine wouldn't already have us foaming at the mouth, the high praise and comparisons to the likes of Beasts of the Southern Wild »

- Chris Feil

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Jonas Carpignano on His ‘A Ciambra’ and Getting Notes From Martin Scorsese

25 May 2017 10:33 AM, PDT | Variety - Film News | See recent Variety - Film News news »

After making a splash in Cannes with ‘Mediterranea,’ which won the Critics Week Grand Prize in 2015, Jonas Carpignano is back, in Directors’ Fortnight this year, with ‘A Ciambra,’ which IFC’s Sundance Selects snapped up for U.S. distribution shortly after the premiere, reportedly following a bidding war. The young director (pictured, left) born in New York from an Italian father and an African-American mother, but raised in Rome, spoke to Variety about why he stayed in the Calabrian coastal town of Gioia Tauro for his ‘Mediterranea’ followup, and what it was like getting notes on his rough cuts from Martin Scorsese, who executive-produced the pic. Excerpts.

A Ciambra’ follows from ‘Mediterranea’ in various ways. I read it was actually prompted by the production’s car being stolen while shooting the short that became ‘Mediterranea.’ Can you tell me more?

Yes, I had never known about a Gypsy community in Gioia Tauro. »

- Nick Vivarelli

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‘The Oa’ Production Designer Alex Digerlando On Utility In Imperfection & Designing Hap’s Deathly Drowning Rig

19 May 2017 2:00 PM, PDT | Deadline TV | See recent Deadline TV news »

An Emmy-nominated production designer responsible for Todd SolondzDark Horse, the Oscar-nominated Beasts of the Southern Wild, and the first two seasons of True Detective, Alex Digerlando has established himself as an artist of tremendous versatility, working consistently alongside industry auteurs and the most exciting voices emerging from the world of independent film. The creators of Netflix original series The OaZal Batmanglij and Brit Marling are among the latter… »

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The Mad Scientist: How The Visionary ‘Bellflower’ Director is Risking All At Cannes After Six Years of Hollywood Battles

17 May 2017 11:03 AM, PDT | Indiewire | See recent Indiewire news »

Six weeks ago, Evan Glodell was in a funk. He’d made his filmmaking debut six years ago with micro-budget breakout “Bellflower,” in which he’d starred, written, directed, and produced through Coatwolf, his filmmaking collective. That film exploded at Sundance 2011, but now it seemed like all of his projects were stalled, again.

He wondered if he should have turned down an offer to wrangle VFX for Benh Zeitlin’s “Wendy,” another follow-up to a Sundance hit (“Beasts of the Southern Wild”) made by a filmmaking collective; unlike his Coatwolf projects, that one was successfully winding its way to completion.

Then suddenly, everything turned around. Coatwolf’s second film, “Chuck Hank and the San Diego Twins” produced, co-written, and starring Glodell, is close to locked and is ready for CAA to screen for buyers.

Their third, “Canary,” written, directed, produced, and starring Glodell, will hit the Cannes market to seek »

- Anne Thompson

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The Mad Scientist: How The Visionary ‘Bellflower’ Director is Risking All At Cannes After Six Years of Hollywood Battles

17 May 2017 11:03 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Six weeks ago, Evan Glodell was in a funk. He’d made his filmmaking debut six years ago with micro-budget breakout “Bellflower,” in which he’d starred, written, directed, and produced through Coatwolf, his filmmaking collective. That film exploded at Sundance 2011, but now it seemed like all of his projects were stalled, again.

He wondered if he should have turned down an offer to wrangle VFX for Benh Zeitlin’s “Wendy,” another follow-up to a Sundance hit (“Beasts of the Southern Wild”) made by a filmmaking collective; unlike his Coatwolf projects, that one was successfully winding its way to completion.

Then suddenly, everything turned around. Coatwolf’s second film, “Chuck Hank and the San Diego Twins” produced, co-written, and starring Glodell, is close to locked and is ready for CAA to screen for buyers.

Their third, “Canary,” written, directed, produced, and starring Glodell, will hit the Cannes market to seek »

- Anne Thompson

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‘Dan Ireland Award’ Created by Louisiana Film Festival

16 May 2017 7:10 AM, PDT | Sydney's Buzz | See recent Sydney's Buzz news »

The inaugural Dan Ireland Award, a juried cash prize of $3,000 for the director of the best film in the Louisiana International Film Festival’s New Visions / New Voices Category is sponsored by Winifred and Kevin Reilly, Jr., Renee Zellweger, Vincent D’Onofrio, Dennis Yares and Greg Kachel.

In addition to his long career as a director, teacher and co-founder of the Seattle International Film Festival, Dan Ireland served as the Artistic Director of Liff until his untimely death on April 14, 2016. The Dan Ireland Award was created in order to commemorate his dedication to new talent, storytellers and visionaries.Speaking at the Dan Ireland Award Ceremony, Chesley Heymsfield, Executive Director of Liff, said about Dan, “It was very hard for our entire team because when you work at an organization like this which is a grassroots community built organization to support local people, you become like family and it was very »

- Sydney Levine

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Awards Race Disruption: Why ‘Get Out’ and Netflix Can Afford to Rewrite the Rules

11 May 2017 12:35 PM, PDT | Indiewire | See recent Indiewire news »

Isn’t May a little early to launch an Oscar campaign? Not anymore. These days, it seems old rules don’t apply. On Tuesday evening, Universal marketing turned its “Get Out” DVD launch party into an ad-hoc awards event, inviting awards journalists to its Wisteria Lane backlot to celebrate Jordan Peele’s horror comedy about suburbia gone very wrong.

At $174 million to date (and an expected $50 million bonus rolling out overseas), “Get Out” is Blumhouse horror producer Jason Blum’s highest-grossing film (and his second Oscar contender, after “Whiplash”). And no one is more surprised to be in the awards conversation than breakout writer-director Peele, who is developing seven more original ideas for his new Universal first-look deal. Chances are, he’ll get more than $4.5 million to make them.

Being in any awards race is “a little surreal to me,” Peele told me. “I have a hard time accepting that’s part of the conversation. »

- Anne Thompson

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2017 | 2016 | 2015 | 2014 | 2013 | 2012

1-20 of 58 items from 2017   « Prev | Next »


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