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Risky and risqué, indie films have always been a home for bold, honest, and controversial visions of teens’ sexuality. Eliza Hittman’s “Beach Rats,” opening this week after bowing at Sundance in January, is another notch in the belt of the sub-genre, a sensitive and often shocking look inside the coming-of-age of a young Brooklyn teen.
Like the best of these films, it’s not all about hormones; it builds on questions about identity and desire. But that’s there too, in sensitively crafted scenes that don’t skimp on reality. Punctuated by some bad choices and an unnerving final act, “Beach Rats” embraces the full spectrum of teen sexuality, even when it’s not exactly alluring.
Here are eight indie films that engage with the subject matter in appropriately intimate ways. »
- Kate Erbland
While many critics and journalists (including our own correspondent, A.A. Dowd) have characterized this year’s Cannes Film Festival as underwhelming, the line-up for its fall cousin, the Venice Film Festival, is bursting with potential. As Variety reports, the main competition and sidebar selections includes Darren Aronofsky’s horror film Mother!, starring Jennifer Lawrence; Guillermo Del Toro’s 1960s-set merman movie The Shape Of Water; Lean On Pete, the latest from British writer-director Andrew Haigh (Weekend, 45 Years); Martin McDonaugh’s Three Billboards Outside Ebbing, Missouri; Ex Libris: New York Public Library, a new film by documentary titan Frederick Wiseman; Mektoub, My Love: Canto Uno, the first new film by Tunisian-French writer-director Abdellatif Kechiche since his Cannes prize-winner Blue Is The Warmest Color; Zama, Lucrecia Martial’s long-awaited follow-up to The Headless Woman; the black comedy Suburbicon, directed by George Clooney and starring Matt Damon; and Caniba, by Leviathan »
- Ignatiy Vishnevetsky
Aronofsky, Clooney and del Toro are heading to the Lido; Alberto Barbera reveals the ones that got away.
Ahead of the world’s oldest festival, the buzz is palpable once again.
However, the flavour to this year’s Venice line-up is noticeably different from recent editions with an emphasis on internationalism, discoveries and innovation over large canvas studio fare.
If last year’s Venice lineup was a veritable treasure trove of big name Us and international filmmakers, this year’s lineup has a slightly more tempered feel to it, which nonetheless remains full of intrigue.
In the last four years Venice has kickstarted major Oscar runs for four Us movies [Gravity, Birdman, Spotlight and La La Land], however last year, for the first time in three years, it missed out on hosting the best picture winner [Moonlight, which went to Telluride].
Buzzed-about early awards contenders in this year’s 21-strong competition include Alexander Payne’s social satire Downsizing, starring Matt Damon and Kristen Wiig, Guillermo del Toro’s other-worldly »
- firstname.lastname@example.org (Andreas Wiseman)
On the heels of the Toronto International Film Festival announcement earlier this week, Venice Film Festival have now delivered their full lineup and while there’s no Terrence Malick as rumored, there’s a plethora of highly-anticipated titles. Along with the previously-announced opener Downsizing and the expected Suburbicon, mother!, The Shape of Water, and Three Billboards Outside Ebbing, Missouri, there’s Lucrecia Martel’s Zama, Andrew Haigh’s Lean on Pete, Abdellatif Kechiche’s Blue is the Warmest Color follow-up Mektoub, My Love: Canto Uno, and Brawl In Cell Block 99, the latest film from Bone Tomahawk director S. Craig Zahler.
Also in the lineup is Errol Morris’s Netflix crime drama Wormwood, Paul Schrader’s First Reformed, Frederick Wiseman’s Ex Libris – New York Public Library, Hirokazu Koreeda’s The Third Murder, Takeshi Kitano’s closing night film Outrage Coda, Michaël R. Roskam’s Racer and The Jailbird, the Kirsten Dunst-led Woodshock, »
- Jordan Raup
Rome – Darren Aronofsky’s horror thriller “Mother!” and new films by George Clooney and Guillermo del Toro will world premiere at the 74th Venice Film Festival, along with hotly anticipated titles from directors such as France’s Abdellatif Kechiche.
As previously reported by Variety, Clooney’s “Suburbicon” (pictured), a black comedy starring Matt Damon, Julianne Moore, Josh Brolin, and Oscar Isaac, will launch from the Lido. The film is one of three Paramount titles destined for Venice, along with “Mother!” and festival opener “Downsizing” by Alexander Payne. All three movies will also screen in Toronto.
In “Suburbicon,” Damon plays the father in a well-to-do suburban family that finds itself caught in a violent spiral. The actor also stars in “Downsizing,” a social satire in which his character agrees to have »
- Nick Vivarelli
Rome – George Clooney’s “Suburbicon,” Guillermo Del Toro’s “The Shape of Water,” Stephen Frears’ “Victoria and Abdul,” and Paolo Virzi’s “Ella and John,” starring Helen Mirren and Donald Sutherland, are among the titles strongly tipped to world premiere at the upcoming 74th Venice Film Festival.
Less than a week before the official announcement, the buzz on the Venice lineup remains somewhat muted, though some locked-in titles have surfaced, including Alexander Payne’s “Downsizing,” which will open the fest. There’s also certainty over the absence of some titles – especially “Blade Runner 2049” and Darren Aronofsky’s “Mother!”, both high-profile movies that had been considered as possibilities.
- Nick Vivarelli
Paris – Serge Toubiana, the former boss of the French Cinematheque, is set to preside over UniFrance, the French promotion organization.
Toubiana was elected Thursday by the 48 members of UniFrance’s executive committee and will take over from Jean-Paul Salomé, who served for four years alongside the organization’s managing director, Isabelle Giordano.
Toubiana will continue to work with Giordano on several events aimed at helping French sales agents and promoting Gallic movies abroad, notably via the Rendez-Vous with French Cinema event in Paris, New York (with the Film Society of the Lincoln Center), and Tokyo, among others.
A well-regarded French industry figure, Toubiana ended his 13-year tenure at the Cinematheque in 2015 and joined Pathe, the venerable French film studio, as advisor to company president Jerome Seydoux in 2016. Toubiana also sits on Pathe’s board.
While at the Cinematheque, Toubiana built bridges with foreign partners and filmmakers to broaden the appeal of the institution. Some »
- Elsa Keslassy
Rumer Willis revealed she is six months sober!
The 28-year-old performer opened up about her sobriety in a personal post on Instagram over the weekend.
"I will be the first one to say I'm not perfect and I mess up sometimes and every once in a while I get it right but I wanted to share this because I am really proud of myself," she wrote, captioning a minimal makeup photo of herself smiling, with tousled hair.
"Yesterday I celebrated 6 Months of Sobriety," the Empire actress continued. "It's not something I planned on but after the long journey of getting here I can honestly say I have never been more proud of myself in my entire life. Thank you all for the love and support and remember to be gentle with yourself."
Willis later shared a photo of herself rocking a pale »
Stars: Taylor Sands, Danielle Rose, Pawel Hajnos, Magdalena Bochan-Jachimek, Joanna Mazewska, Joanna Sobocinska, Ernestyna Winnicka, Amer Riad El Muafy, Elen Moore, Frantisek Smejkal | Written by and Directed by Maxim Ford
A voyeuristic, yet sexually repressed painter commissioned by a Madam for her brothel. Two young friends exploring feelings for each other. Corrupt police officers and morally corrupt religious zealots. Arranged marriages. Appreciation for art. Beautiful girls in period dress… It’s almost like De Sade, Franco, Pasolini and Borowczyk are having a brain storm session wherever they ended up after death.
Ok. That’s taking it a bit too far, but I can safely say as a lover of erotic cinema of yesteryear – Maxim Ford’s Picture of Beauty touched me in all of the right places. I should also say that although an explicit film at times, this is not just a piece of exploitative and sordid ‘sinema’. This is an honest, »
- Mondo Squallido
Young actors confronting teenage sexuality on the big screen has often led to emotionally honest and powerful work. Think Adèle Exarchopoulos in “Blue is the Warmest Color,” Jess Weixler in “Teeth,” Bel Powley in “The Diary of a Teenage Girl” or Harris Dickinson in the upcoming Sundance winner “Beach Rats.” But if there’s one actor cornering the market on teenage sexuality right now and showing everyone else how it’s done, it’s Elle Fanning.
The 19-year-old indie darling has become increasingly interested in characters coming to terms with their burgeoning sexuality, and she’s owning every one of them with refined and intuitive work. It’s particularly impressive that Fanning has never tackled the subject the same way from performance to performance. She’s constantly exploring all facets of teenage sexuality, »
- Zack Sharf
It’s no secret that sex sells, and movies are no exception. But while plenty of films like to show gratuitous sex, they’re not always very good. That’s a problem, since movies have the power to shape not only the cultural norms, but personal ones. And what could be more personal than sex? Sexuality is an integral part of the human experience, not some sensational or shameful ploy to sell tickets (though it doesn’t hurt).
That’s why we think it’s important to single out the very best films that also happen to be incredibly sexy, titillating, and provocative. These are not only some of our favorite films in general, but they’re films that celebrate the broad spectrum of human sexuality while telling stories as cinematic as they are personal. Some don’t have any sex scenes at all, while some are notoriously near-pornographic. When these movies do show sex it is always in service of the story, and always in order to challenge, subvert, or celebrate contemporary beliefs about sexuality.
Turn on (and get turned on) by our list of the 25 best sexy movies of the 21st century (well, so far). You know you want to.
25. “Vicky Cristina Barcelona” (2008)
Undeniably sexy and amusing at once, Woody Allen’s 2008 Spain-set dramedy delights in pushing its various players into all sorts of romantic permutations and configurations. Anchored by Scarlett Johansson in a sneaky performance as the eponymous Cristina (pre-breakout Rebecca Hall is her best pal Vicky), the film follows a pair of friends as they meet and make lots of love with the beguiling Juan Antonio (Javier Bardem), who isn’t at all thrown off by the possibility of having two lovely ladies in his bed. In fact, he’s got another one to think about too, his free-spirited ex-wife (Penelope Cruz), who he just can’t get out of his head (or heart). On the surface, “Vicky Cristina Barcelona” is a dead sexy romp about free-wheeling love-makers (complete with plenty of naughty bits), but it’s also a film that boldly explores issues of fluidity and fidelity with an uncharacteristically easy touch. -Ke
24. “Shortbus” (2006)
With its three-person blowjob circle, non-simulated sex scenes including ejaculation, and close-up of a pee stream unleashing into a bathtub, “Shortbus” is not for everyone. It’s an ambitious film, one that attempts to have fun, be sexy, and tell a good story. If anyone could pull it off, it would be the man behind “Hedwig and the Angry Inch,” John Cameron Mitchell. “Shortbus” feels as much like an ensemble comedy as a playful experiment, though the two main characters are a sex therapist who’s never had an orgasm and a retired gay sex worker experimenting with opening up his relationship. With their partners, they both begin attending a weekly artist and sex salon, each hoping inspiration will strike. Mitchell wanted to use sex in new cinematic ways, “because it’s too interesting to be left to porn.” If it’s interesting sex you want, “Shortbus” has got it. -Jd
23. “Brokeback Mountain” (2005)
The end of this film is so movingly profound that your memory of it might not be that it was all that sexy. The love between these two men, buried under their rugged cowboy exteriors, ends with what can only be described as a sense of life-defining tragedy. Yet it is those brief moments where they let themselves go and unleash their animalistic passion, which “Crouching Tiger” director Ang Lee captures in his normal visceral fashion, that add a level of eroticism and physically affection that nearly makes all the pain worth it. Ennis and Jack rotate from almost fighting, as they pull at each others’ denim-clad exterior, to moments of being naked and incredibly tender. It’s virtually every cowboy fantasy rolled up into one. That they can only be themselves in the privacy of the great outdoors makes everything that much more liberating. Watching this film in 2005 felt taboo and rebellious, which resulted in a charged atmosphere in packed mainstream cineplexes around the country. -Co
22. “In the Cut” (2003)
Jane Campion’s handle on female desire has always been one of her best attributes as a director (and she’s got a lot of them), but nothing in her filmography is as overtly sexy and emotionally challenging as her 2003 Meg Ryan-starrer “In the Cut” (and that includes “The Piano,” which has a sexiness and eroticism all its own). Our first introduction to Ryan’s character is rooted in her coming to heady terms with her own sexuality, a theme that carries over throughout the often grisly drama. Increasingly drawn to Mark Ruffalo as a moody detective looking to solve a local murder that Frannie is tangentially involved in, Ryan’s character pushes the boundaries of “acceptable” desire. It’s a theme that Campion giddily plays into with some of modern cinema’s most satisfying and profound sex scenes, many of which center on — gasp — Frannie’s own pleasure over that of Ruffalo’s character. -Ke
21. “Hustle & Flow” (2005)
Craig Brewer’s crowdpleaser about a pimp dreaming of music fame is anchored by strong performances from Terrence Howard, Taraji P. Henson, and Taryn Manning. Howard plays Djay, while Henson and Manning are Shug and Nola, two of his girls. Hot-tempered and passionate, Djay begins making tracks with his friend Key (Anthony Anderson), and discovers he has a gift for lyrics. The catchy original soundtrack helps sell the story, as Djay’s songs seem to actually have a chance at getting radio play. While the strip club setting provides ample shots of semi-nude women, Djay and Shug’s sweet romance gives the film its emotional core and shows a softer side to Djay (and his temper). Their undeniable chemistry leads the previously timid Shug to throw down a sexy hook, her raspy croon on “It’s Hard Out Here for a Pimp” making Henson’s star power glaringly obvious. -Jd
20. “Beyond the Lights” (2014)
Chemistry is the name of the game in Gina Prince-Bythewood’s freight-train fast music industry romance, which pairs up rising starlet Gugu Mbatha-Raw (pure charm) alongside pre-“Birth of a Nation” Nate Parker. The pair exhibit major fireworks from the start, imagining Mbatha-Raw as hot new pop star Noni Jean, a big talent who is dangerously close to burning out and fading away, before she falls into the protective arms Parker’s do-gooder cop, Kaz Nicol. Prince-Bythewood’s film cannily sneaks in big questions about fame and the entertainment industry, along with issues regarding what’s actually sexy (Noni Jean is frequently kitted out in teensy costumes that make record execs happy, while diminishing her own humanity with every stitch), deep issues that are lovingly cradled by full-scale love story. When the pair finally give into their obvious attraction, “Beyond the Lights” pulls out the big guns, all gauzy love scenes and one particularly hot trip to Mexico, but the film maintains its sensuality by remembering that nothing is so sexy as mutual respect and admiration. -Ke
19. “In the Mood for Love” (2000)
Every Wong Kar-wai movie contains a kind of visual sensuality in every frame, but “In the Mood for Love” goes one step further — its slow-burning romance between a pair of would-be lovers who live across the hall from each other in sixties-era Hong Kong is rich with unobtainable desire. Much is left unsaid and unachieved about the fantasy of an extramarital affair shared by Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung), but the hints of attraction between them, unfolding in small gestures and passing glances, imbues each scene with the intensity of emotions specific to a period of repression. It’s a grand tragedy of issed opportunities framed by erotic implications. —Eric Kohn
18. “Ex Machina” (2014)
If you like high-tech voyeurism and intellectual sparring, you might find Alex Garland’s cerebral sci-fi thriller unearthing some hidden desires. An affable young programmer, Caleb (Domhnall Gleeson), is invited to the secluded jungle home of the CEO of his company, Nathan (Oscar Isaac) to participate in a top-secret experiment. Nathan wants to know if the cyborg he has been developing, Ava (Alicia Vikander) can convince Caleb that she has real consciousness. The tension is ripe between Nathan and Caleb as each attempts to alternately impress and control the other, but it is Caleb’s obsession with saving Ava that raises questions about the hero myth. Ava is the embodiment of male fantasy, trapped within a body invented to please and serve. As the two men fight over who best understands her mind, it turns out Ava was pulling the strings all along. There’s nothing sexier than a woman in charge. -Jd
17. “Quills” (2000)
It’s easy enough to get sucked into “Quills” based on the promise of Joaquin Phoenix playing an earnest (and incredibly sexy) young priest tempted by his attraction to a chambermaid. But somehow, much like Kate Winslet’s Madeline, we fall under the spell of the charismatic Geoffrey Rush, who plays his role as the Marquis de Sade with a deliciously dirty panache befitting the notorious French writer. The Marquis’ libertine ways run counter to the no-nonsense Royer-Collard (Michael Caine), who takes over the asylum with the intention of stifling the writer’s creative output. But even his own wife is no match for the words of the Marquis, which ooze both sensuality and liberty. Before long, any initial apprehension to the Marquis de Sade (he is a dirty old man, after all) is fully given over to the hope that his debauchery will win out, and that his desire, as well as that of Madeline and Coulmier (Phoenix) will be fully fulfilled — even though we know this is impossible. -Jr
16. “A Bigger Splash” (2015)
Watching “A Bigger Splash” feels like observing a sizzling chess game of attraction. Luca Guadagnino sticks Ralph Fiennes, Tilda Swinton, Matthias Schoenaerts, and Dakota Johnson on the world’s most gorgeous island and lets the sparks fly. Swinton plays a world-famous rock singer vacationing with her lover, a chiseled Schoenaerts who is practically a walking and talking sculpture of male beauty. Their time together is disrupted by the arrival of the rocker’s former lover and his daughter, a promiscuous young 22-year-old. Each character is so ready to succumb to sexual desire and so pent up with sexual attraction that Guadagnino creates the ultimate emotional orgy. The fun is in seeing how each person uses their sexuality to outsmart the next. You’ll be seduced from the first frame to the last. It feels like you’re watching each actor for the very first time. -Zs
On the next page: wild adventures in Florida, some of the century’s most jaw-dropping pairings, and at least one murder.
Related storiesAbdellatif Kechiche is Auctioning Off 'Blue is the Warmest Color' Palme d'Or to Finance New FilmNetflix's New Ratings System Is a Terrible Idea13 Essential Lgbt Indies From the Post-'Brokeback Mountain' Era »
- Kate Erbland, Jude Dry, Eric Kohn, Zack Sharf and Jamie Righetti
19 June 2017 5:46 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
French-Tunisian director Abdellatif Kechiche has spoken publicly for the first time on his decision to auction off his Palme d'Or, as well as several items from the set of Blue Is the Warmest Color, to raise money to finish his latest movie.
In an exclusive email interview with The Hollywood Reporter, Kechiche explained how he came to the radical decision after the financiers of his upcoming film, Mektoub, My Love pulled their backing when the movie was in postproduction. The film is based on the novel La blessure, la vraie, from French writer Francois Begaudeau, whose book Entre Les Mures »
- Scott Roxborough
Arthouse and festival film fans in Belgium and the Netherlands will get a new service this week with the launch of the Film Europe Channel.
The linear channel and streaming service will launch Tuesday on Canal Digitaal in the Netherlands and TV Vlaanderen in Belgium, both pay-tv platforms owned by the M7 Group.
Film Europe Channel was established in Eastern Europe in 2009 and is programmed with festival and arthouse films from around Europe.
Titles on the channel include Paolo Sorrentino’s Oscar winner “The Great Beauty,” Abdellatif Kechiche’s 2013 Palme d’Or winner “Blue Is the Warmest Colour,” and 2015 winner “Dheepan” from France’s Jacques Audiard.
Film Europe also runs movie events, including Kino Film Europe in Bratislava and Crème de la Crème and the Be2Can in the Czech Republic and Slovakia, which show films from the major European festivals.
The company, which also handles theatrical distribution in central Europe, »
- Stewart Clarke
Art house and festival film fans will in Belgium and the Netherlands will get a new service this week with the launch of the Film Europe Channel.
The linear channel and streaming service will launch on June 20 on Canal Digitaal in the Netherlands and TV Vlaanderen in Belgium, both pay TV platforms owned by the M7 Group.
Film Europe Channel was established in eastern Europe and is programmed with festival and art house films from Europe.
Titles on the channel include Paolo Sorrentino’s Best Foreign Language Oscar winner “The Great Beauty,” Abdellatif Kechiche’s 2013 Palme d’Or winner “Blue Is the Warmest Colour,” and 2015 winner “Dheepan,” from France’s Jacques Audiard.
Film Europe also runs movie events in Europe including Kino Film Europe in Bratislava and Crème de la Crème and the Be2Can in the Czech Republic and Slovakia, which show films form the major European festivals.
Ivan Hronec, created »
- Stewart Clarke
Jane Campion: cinematographos/YouTube
The Film Society of Lincoln Center (Fslc) has unveiled its schedule of programs and festivals this summer and fall, and a retrospective of director, writer, and showrunner Jane Campion is among the offerings. According to a press release, the “survey of Campion’s rich and revelatory body of work” will be held September 8–20, 2017. The director herself will attend a few select events.
“Since her indelible 1989 debut feature ‘Sweetie,’ New Zealand-born Jane Campion has been one of the most distinctive talents in world cinema,” the press release emphasizes. “For four decades now, Campion has moved freely across genres — family melodrama, gothic romance, literary adaptation, farce, suspense-thriller — and also between cinema and television.” Specific film screenings have not been announced yet, but the press release lauds Campion’s features as “notable for their visual inventiveness, dark sense of humor, and complex depictions of women and sexuality.” It seems likely that movies such as “Sweetie,” “The Piano,” “An Angel at My Table,” “Portrait of a Lady,” and “Bright Star” will be shown.
The retrospective will also mark the U.S. premiere of “Top of the Lake: China Girl,” co-directed and created by Campion. The upcoming season of the acclaimed feminist series sees Elisabeth Moss reprising her role as Detective Robin Griffin, a passionate defender of women and children. Nicole Kidman, Gwendoline Christie (“Game of Thrones), and Alice Englert (“Ginger & Rosa”) also star.
Campion is the first woman and only female director to win the Palme d’Or at the Cannes Film Festival. She received the honor in 1993 for “The Piano,” (which also earned her the Best Screenplay Oscar). She also took home the Short Palme in 1986 for her short film “Peel.” With the exception of “Blue Is the Warmest Color” stars Adèle Exarchopoulos and Léa Seydoux — who won a special Palme d’Or with director Abdellatif Kechiche in 2013 — no woman has ever won the award since.
“Too long! Twenty-four years! And before that, there was no one. It’s insane,” Campion said of her Palme d’Or win at Cannes this year. “And I’m really annoyed that the director-ess from ‘Toni Erdmann’ [Maren Ade] didn’t win last time. I thought, ‘Finally, a buddy.’ No. No! There’s no more guys winning. That’s it. It’s just going to be women winning from now on.”
In addition to the Campion retrospective, Fslc will also host “Talking Pictures: The Cinema of Yvonne Rainer,” from July 21 to 27. The “Lives of Performers” helmer’s work “signaled new directions for film language, retooling narrative generally and melodrama specifically with a disjunctive audiovisual syntax, restless political intelligence, deft appropriation, and deadpan wit,” the press release summarizes. The program’s lineup will feature films directed by and starring Rainer as well as projects that informed her work.
Head over to the Fslc website for additional details and ticket info.
“Top of the Lake: China Girl” airs this fall on SundanceTV.
Film Society of Lincoln Center to Host Jane Campion Retrospective was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
EW has new images from Mary Poppins Returns. Oh please let this be good. Please let it be good.
Decider the 50 most important Lgbt characters in tv history - they'll be doing essays on the top 10. Two of our contributors were included in their polling.
The Guardian thinks Tom Cruise should ditch the heroics and play an unsavory character again. We heartily agree. He seemed to lose all his artistic ambition (if not his general ambition) right around the time of the Kidman divorce. It's been almost a two decade stretch of franchise heroes only now with rare exceptions like Rock of Ages and Collateral.
- NATHANIEL R
Four years have now passed since director Abdellatif Kechiche brought his explicit, emotionally raw “Blue Is The Warmest Color” to the Cannes Film Festival. Many prognosticators had him pegged to return to the Croisette this year with his new film “Mektoub Is Mektoub” (now titled “Mektoub, My Love“) but as we learned just a couple of months ago, the film has mutated.
- Kevin Jagernauth
Abdellatif Kechiche’s new project, Mektoub, My Love, has been halted in post-production due to financial constraints
Director Abdellatif Kechiche, whose film Blue is the Warmest Color won the Palme d’Or at the 2013 Cannes Film Festival, has decided to auction off that top prize in order to finance his current project, Mektoub, My Love, on which production has been stopped due to budgetary issues.
Kechiche released a statement on the matter to the Hollywood Reporter through his spokesperson. “In order to raise the necessary funds for the completion of post-production without further delays,” it read, “the French production and distribution company Quat’Sous is auctioning film memorabilia related to Kechiche’s work. Items to be offered range from the Palme d’Or (Cannes Film Festival 2013) to the oil paintings that played a central role in Blue Is the Warmest Color”.
Continue reading »
- Jake Nevins
When “Blue is the Warmest Color” won top honors at the 2013 Cannes Film Festival, it made history by receiving three Palme d’Or trophies: One for director Abdellatif Kechiche and two for lead actresses Adèle Exarchopoulos and Léa Seydoux. It looks like the trio is going to be down one, however, as The Hollywood Reporter confirms Kechiche is auctioning off his prize in order to finance post-production on his next movie, “Mektoub Is Mektoub” (also known as “Mektoub, My Love”).
Kechiche had been editing the film, his first since “Blue is the Warmest Color,” when the production’s financing bank blocked its line of credit. In order to avoid a hiatus, Kechiche is selling his Palme as well as other items from his filmography, including oil paintings from his Cannes winner. »
- Zack Sharf
7 June 2017 7:38 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
The director of Blue Is the Warmest Color, winner of the 2013 Cannes film festival, is auctioning off his Palme d'Or to pay for his next film. Abdellatif Kechiche is taking the drastic move after production on his upcoming drama, Mektoub, My Love, was halted due to financial difficulties.
The new, two-part feature, starring up-and-coming French actors Lou Luttiau, Shain Boumediene and Ophelie Bau, was in postproduction when the film's financing bank abruptly blocked its line of credit, leaving the project “in limbo,” Kechiche said in a statement to The Hollywood Reporter. The bank in question is Cofiloisirs, one of the top two »
- Scott Roxborough
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