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Read More: The Most Ambitious Movie At This Year's Cannes Film Festival is 'Arabian Nights' Miguel Gomes' lauded epic "Arabian Nights," which premiered as part of the Cannes Directors' Fortnight selection, has been acquired for release in a groundbreaking co-distribution deal between New Wave Films and curated VOD service Mubi. The film confronts encompassing social and political realities in contemporary Portugal, spanning six hours over three parts. Here's the film's official synopsis: "['Arabian Nights'] creates a vivid portrait of Portugal today. Miguel Gomes, the director of 'Tabu,' disturbed by the austerity measures imposed on his homeland, commissioned journalists to gather true stories from all over the country that were then fictionalized. The outcome is a heady blend of the surreal and the all too real, told in a series of episodes where social realism is mixed in with the downright bizarre. It is a snapshot of his country in economic strife and. »
- David Canfield
London — Subscription video-on-demand platform Mubi has signed its first theatrical deal. In a pioneering partnership with New Wave Films, Mubi will release Miguel Gomes’ “Arabian Nights” in theaters across the U.K. and Ireland. Mubi will then show the film online.
Mubi and New Wave will handle jointly the home entertainment and VOD release for the three-part film, which played in Directors’ Fortnight at Cannes this year.
The move is the latest in a small but growing recent trend of Svod services acquiring the rights to films with an eye to releasing them in theaters as well as online. Netflix will release Cary Fukunaga’s “Beasts of No Nation” on Oct. 16 in select U.S. theaters and online. It will release “Crouching Tiger, Hidden Dragon: The Green Legend” theatrically in China, and on IMAX and on Netflix globally early next year, and will also release Brad Pitt’s “War Machine »
- Leo Barraclough
Madrid – Completing one of the biggest Latin America- U.S.-Europe co-productions in history, Canana, the Mexico-l.A.-based production house of Gael Garcia Bernal, Diego Luna and Pablo Cruz, has boarded Lucrecia Martel’s “Zama,” one of Latin America’s most awaited and most ambitious movies.
A partner with Im Global in Mundial, a pioneering Latin America sales company, and with Participant Media in Participant PanAmerica, beyond its own lead productions – “Miss Bala,” “Cesar Chavez,” Cannes 2015 Un Certain Regard player “The Chosen Ones” — Canana has been a key driver of first moves to create a pan-regional Latin American film industry, co-producing milestone recent Latin American co-productions such as Pablo Larrain’s “No” and Pablo Fendrik’s “Ardor.”
“We are thrilled to join such a group of colleagues — all admired »
- John Hopewell
The venerable Karlovy Vary Intl. Film Festival may be turning 50, but the thrust of its program remains fresh and tuned to emerging talent. A new strand this year, sponsored by European Film Promotion (Efp), introduces directors that come from the cohort of the fest’s mostly college-age audience. Future Frames: Ten New Filmmakers to Follow brings short works by students and recent graduates of European film schools into the festival’s largely feature-length film mix. Filmmakers were nominated by their respective country’s Efp bodies.
Says Czech filmmaker Ondrej Hudecek of the initiative, “I think it’s always conducive and extremely valuable to meet fellow filmmakers and industry professionals, who are dealing with the same issues of how to make the transition from shorts to features and talk about the perspectives and possibilities we have, as well as about our films and approaches to filmmaking.”
Karlovy Vary runs July 3- »
- Alissa Simon
Miguel Gomes’ three-volume epic wins eight on the closing night of the Sydney Film Festival.
Director Miguel Gomes and his three-volume 383-minute film Arabian Nights has won the $48,000 (A$62,000) Sydney Film Prize, it was announced on Sunday, the closing night of the 62nd Sydney Film Festival.
Journalist Michael Ware was awarded the $7,730 (A$10,000) Documentary Australia Foundation Award for Australian Documentary for Only the Dead, about his experiences in Afghanistan. The film was co-directed with Bill Guttentag.
Jury president and Australian producer Liz Watts said Arabian Nights, which had its world premiere in Directors’ Fortnight at Cannes, was a film of ambition and political vision which confronts, frustrates, and spellbinds – and ultimately reminds us that cinema continues to be a powerful vehicle to examine the human condition.
“A subject that is so timely – oppression and exploitation are at »
- Sandy.George@me.com (Sandy George)
Read More: 2015 Indiewire Cannes Bible The latest film from acclaimed Portuguese auteur Miguel Gomes ("Our Beloved Month of August," "Tabu") is his most ambitious work by far. Divided into three feature-length "volumes" — "The Restless One," "The Desolate One," and The Enchanted One" — "Arabian Nights" is a six-hour epic consisting of interwoven stories. Taking its namesake from the famous ancient collection of folktales, the film makes it clear early on that this is not an adaptation despite being inspired by the book's structure, in which the beautiful Scheherazade (played here by Crista Alfaiate) tells a fantastical tale every evening for 1001 nights to distract the tyrannical king from killing her. If the movie's cumbersome running time appears intimidating, its episodic nature makes it easily digestible, and here at the Cannes Film Festival it has been presented on three separate days — a fine way to experience »
- Adam Cook
The biggest and most ambitious movie at Cannes this year isn’t an expensive blockbuster ("Mad Max: Fury Road") or a conceptually demanding animated film ("Inside Out"). It’s “Arabian Nights,” a six-hour, three-part project, variously described as a trilogy and as just one movie, shot entirely on film and inspired very, very loosely by the classic collection of fairy tales (also known as “1001 Nights.") The film is the latest from Portuguese helmer Miguel Gomes, who came to the attention of cinephiles with docudrama hybrid “Our Beloved Month Of August,” and then more prominently with “Tabu,” the widely acclaimed, wildly original black-and-white Murnau homage released in 2012. I loved the latter, and have been dying to see what Gomes would get up to next, and the answer doesn’t disappoint: it’s as successful as it is ambitious, and it's one of the most remarkable, distinctive, and magical films of the festival so. »
- Oliver Lyttelton
If “The Restless One” seemed the perfect title for the first part of Miguel Gomes’s opulently undisciplined opus “Arabian Nights” — signaling its tangled, distracted nesting of stories within stories — “desolate” is hardly the adjective for its fertile, often uproarious middle section. It does, however, aptly indicate a certain narrative calming: Only three tales are told here by the project’s wily mythical narrator Scheherazade, though one in particular sprawls and subdivides itself in such alluringly vine-like fashion that viewers will hardly notice 133 minutes ticking by. The crushing social impact of Portugal’s recent austerity policies remains the running theme here, though Volume 2 features less stinging rhetoric than its predecessor, as whimsical satire gradually segues into observational tragicomedy. It remains to be seen on what note Gomes chooses to end his mammoth undertaking, but it’s already among the most stirring, stimulating works at this year’s Cannes fest.
- Guy Lodge
I keep waiting for a truly great film here in Cannes, an expectation and a hope for something really striking that is undoubtably a terrible attitude to take towards this festival and film in general. (Then again, a friend and Cannes regular, when I despondently shared these thoughts, told me that it is this hope that keeps her coming back, and that without it, indeed, why even go to the movies?) With this forlorn need haunting me by the fourth day, I was rightly chastised by the first of three films by the Portuguese director of Tabu, Miguel Gomes, in the Directors' Fortnight, a trilogy titled Arabian Nights. It is not a great film, but, abashed, I think it was the kind of film I needed, a lesson not to expect masterpieces, or perfection, but proof yet again that cinema is permeable, its beauties and faults can and should leak. »
- Daniel Kasman
A few minutes into Colombian director Ciro Guerra's "Embrace of the Serpent" we have met three of its four main characters, and they have encountered each other. In black and white, with period images of the Amazonian jungle reminiscent of Miguel Gomes' "Tabu," a canoe carrying a gravely ill white man, Theo ("Borgman" star Jan Bijvoet), is punted onto the bank by the loyal native tribesman who serves as his traveling companion. And on the bank stands a lone tribal shaman, Karamakate (Nilbio Torres), whose painted face, loin cloth, feathered armbands, phallic-looking necklace and erect, impassive stance seem an unspoken rebuke to the western-clothed native who has come to plead with Karamakate to save his white friend's life. That rebuke is soon spoken, however, in no uncertain terms: Karamakate has nothing but loathing for the white man who wiped out his tribe, and nothing but contempt for a »
- Jessica Kiang
The number of films dealing head-on with the global economic crisis have been shockingly few, leaving the field wide open for someone with the creative complexity and storytelling verve of Miguel Gomes, whose three-part “Arabian Nights” tackles the subject with characteristic imagination and, unsurprisingly, righteous anger. While too early to tell how the trio of pics hang together, it’s possible to say from “Arabian Nights: Volume 1, The Restless One,” that audiences are in for a meaty opus that weaves actuality and allegorical fantasy into an outraged portrait of European austerity, witch doctors, the Portuguese politicos at their beck and call, and, most importantly, the unemployed masses. The project’s commercial viability is less clear, though art ouses will certainly find space.
It’s likely the films need to be released together, since clearly from the first entry they’re meant to be screened within a short period of time; weekends may be ideal, »
- Jay Weissberg
Portuguese critic-turned-auteur Miguel Gomes proved himself to be a director in complete control of his craft with his third feature, Tabu, a film of artistic cool – breaking classic genre conventions in the most crafty and affectionate way by consistently subverting the narrative in a beautiful dreamlike style. Three years later and he’s back with Arabian Nights, a six hour feature that will surely test the patience of even the most dedicated cinephiles. Arabian Nights will unspool as part of the Cannes Directors’ Fortnight, but before the World Premiere, the studio has decided to release a three minute-long clip. Be sure to visit our site throughout the month of May and check out our Cannes coverage. In the meantime, watch the trailer below. Enjoy!
Here’s the official synopsis for all three volumes:
Volume 1, The Restless One
In which Scheherazade tells of the restlessness that befell the country: “It hath reached me, »
Miguel Gomes — the wildly talented director of Tabu and Our Beloved Month of August — will be premiering his new film at Cannes. Technically, Arabian Nights might be considered three separate films, since it’s six hours long and in three volumes. As The New York Times‘ Rachel Donadio explained in a fine profile last year, the film examines the Portuguese recession and its fallout on citizens through a dozen stories. The trailer is lively. »
- Vadim Rizov
Read More: Cannes 2015: The 10 Movies Indiewire Is Most Excited to See After drawing raves for the tenderly eccentric "Tabu," Portuguese director Miguel Gomes is back with a project of even greater ambition and intrigue. "Arabian Nights," set to premiere during the Directors' Fortnight section of this year's Cannes Film Festival, is a sprawling exploration of contemporary Portugal with its base in a range of classic fables. It spans six hours, divided into three volumes but set to premiere in its entirety at Cannes. The newly-released trailer (posted above) lives up to the thematic intensity of the premise and visual poetry of Gomes' recent efforts. At an extra-long three-and-a-half minutes, this snippet of one of the festival's most anticipated premieres reaches far and wide, its extensive humanistic focus as clear as its lavishly evocative scenery. Below are the official synopses for each volume: Volume 1, The Restless One: "In which Scheherazade tells. »
- David Canfield
Spanning more than six hours, spread across three films, "Tabu" director Miguel Gomes' "Arabian Nights" will test the stamina (and scheduling) of moviegoers and press at Cannes. His latest film will unspool as part of the Cannes Directors' Fortnight, and today we get a three-minute glimpse of the epic movie he's preparing to unveil. Crista Alfaiate, Adriano Luz, Américo Silva, Carloto Cotta, Crista Alfaiate, Chico Chapas, Luísa Cruz, Gonçalo Waddington, Joana de Verona, Teresa Madruga, and Jing Jing Guo are among the cast in the film which uses the classic fables to paint a portrait of contemporary Portugal, with stories that look to span a variety of social, political, and economic settings. Here's the official synopsis for all three volumes: Volume 1, The Restless One In which Scheherazade tells of the restlessness that befell the country: “It hath reached me, O auspicious King, that in a sad country among all countries, »
- Kevin Jagernauth
The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.
Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project . Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.
Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.
As previously announced, Brendan Cowell »
- Don Groves
The spring is always a bit of a head-spinning time to be a cinephile. In addition to the onslaught of big money blockbusters, the arthouse world rolls out its finest at the Cannes Film Festival and sidebar lineups. And this week kicks off with big news about the lineups in those sister festivals. For those who thought that "Tabu" director Miguel Gomes' epic "Arabian Nights" would be headed to the main show, guess again. THR reveals that the six-hour movie will instead screen at the Cannes Directors' Fortnight. “The breath-taking triptych is inspired by the tales told by Scheherazade and by some events that occurred in Portugal between 2013 and 2014, while the country was subjected to a political power denying all forms of social justice,” the festival's Artistic Director Edouard Waintrop said. Meanwhile, Cannes Critics' Week has unveiled their slate, and the starriest attraction is Elie Wajeman’s “The Anarchists, »
- Kevin Jagernauth
“Arabian Nights,” a three-part, six-hour-plus drama from the Portuguese director Miguel Gomes (“Tabu”), will make its world premiere in the Directors’ Fortnight section of the Cannes Film Festival, the Fortnight has announced.
Likely to clock in as the longest entry at Cannes this year, the film was apparently highly regarded by the official selection committee and had been heavily considered for competition. But organizers balked at the lengthy running time, which would have effectively taken up two competition slots, and offered the film an Un Certain Regard berth. Gomes opted to take the film to Directors’ Fortnight instead.
Gomes isn’t the only high-profile auteur to ditch the official selection for the Directors’ Fortnight, which earlier this week announced that it would present the world premiere of Arnaud Desplechin’s “My Golden Years” (which had also been turned down from competition). The program will open with Philippe Garrel’s “In the Shadow of Women. »
- Justin Chang and Elsa Keslassy
There are still three weeks to go before the Cannes Film Festival unveils its official-selection lineup, but so far, the latest Pixar 3D animated extravaganza and new films from Woody Allen, Todd Haynes, Jeff Nichols, Denis Villeneuve and Arnaud Desplechin appear to be securing their positions in the event’s 68th annual edition (May 13-24).
In keeping with his longtime habit of avoiding festival accolades, Allen will likely receive an out-of-competition berth for his 45th feature, “Irrational Man,” starring Joaquin Phoenix and Emma Stone (who starred in the director’s “Magic in the Moonlight”). Among other U.S. fare, Cannes will get an early start on the summer blockbuster season with Disney/Pixar’s feature toon “Inside Out,” marking a second trip to the Croisette for director Pete Docter (who co-helmed with Ronaldo Del Carmen) after his “Up” opened the festival in 2009. As already announced, George Miller’s “Mad Max: Fury Road, »
- Justin Chang and Elsa Keslassy
The distributor has picked up Us rights from The Match Factory to Sebastian Schipper’s thriller following its world premiere in Berlin.
Victoria tells in one continuous 134-minute take the story of a young Spanish girl who gets more than she bargained for when she hooks up with four men in Berlin after a night clubbing.
- email@example.com (Jeremy Kay)
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