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‘Pain and Glory’ Review: Dir. Pedro Almodóvar (2019) [Sydney]

Pain and Glory Review: Through Antonio Banderas’ magnificent performance, director Pedro Almodóvar presents a meta-fiction of himself in the medium he excels in best.

Hot on the heels of its successful screening at Cannes where it was nominated for the prestigious Palm d’Or and won Antonio Banderas the best actor award for his role as an aging gay film director riddled with excruciating health problems, Pedro Almodóvar’s latest offering, Pain and Glory takes its bow down here in Sydney.

A master of intertextuality and self-reference, Almodóvar’s 21st film boldly turns the camera onto himself and delivers a delicate metafiction – or as his character, Salvador Mallo (Antonio Banderas) would say “auto-fiction” – that loses none of the qualities one comes to expect from the celebrated director. The signatures are all there; bold colours, his admiration for cinema, strong female figures and loving embraces, painstakingly interwoven into a story within a story within a story.
See full article at The Hollywood News »

New to Streaming: ‘Domino,’ Cannes 2019 Shorts, ‘Running with Beto,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.

Cannes 2019 Shorts

Following last week’s batch of Cannes Critics’ Week shorts now available to stream, this week brings Directors’ Fortnight selections. Available for free through June 16, Festival Scope is now presenting seven short premieres from the Cannes sidebar, including Ariane Labed’s Olla, Pham Thien An’s prizewinner Stay Awake, Be Ready, and more.

Where to Watch: Festival Scope

Domino (Brian De Palma)

The latest from Brian De Palma hits film culture not unlike a moody son trudging to their graduation party at a parent’s behest, a master of big-screen compositions relegated to VOD for those who bother plunking down. That tussle between pedigree of
See full article at The Film Stage »

‘Domino’ Film Review: Brian De Palma Half-Heartedly Directs Terrorism Thriller

  • The Wrap
‘Domino’ Film Review: Brian De Palma Half-Heartedly Directs Terrorism Thriller
Nikolaj Coster-Waldau is dangling off a rooftop. To his left, he can see his best friend through a window, dying from a slit throat. To his right, he can see the murderer, also hanging for dear life. It’s a hell of a scene, a hell of an image, and yet — we feel nothing.

That’s “Domino,” a couple of interesting set pieces in search of a reason to exist, from director Brian De Palma. For most of his career, De Palma has been hailed as a modern master of suspense, or at least a dynamite visual stylist. And although many of his films — including “Carrie,” “Blow Out” and “Dressed to Kill” — are now classics, even misfires like “Snake Eyes” and “Passion” usually have some bravura cinematic showpieces that make them worth watching.

The best that “Domino” can boast are some general concepts for exciting set pieces. Moments like the
See full article at The Wrap »

‘Domino’ Review: Brian De Palma Brings Chaotic Joy in Misshapen Terrorism Thriller

Even more than his studio-dominating, awards-securing, and fiercely independent (or so the canonized story goes) New Hollywood contemporaries, it could be said that Brian De Palma (save one or two studio jobs he’s since downplayed) makes movies exclusively for himself. His interests so clearly front-and-center, appreciation has become a kind of plug-and-play auteurist game: the pieces–the split diopters, slow zooms, split-screen, Pov shots, etc.–are ready to run, spark a smile or a groan, and spur comments about the nature of voyeurism, visual storytelling, etc.

It’s tempting, and not exactly inaccurate, to commend Domino, his first feature since 2012, by winnowing down myriad complications to the notion that merely looking at it is to feel his presence. But what are we looking at here? Impulses to just review what’s on the screen–in the case of un film de Brian De Palma, the screen, the screen-within-the-screen, for
See full article at The Film Stage »

Movie Review – Domino (2019)

Domino, 2019.

Directed by Brian De Palma.

Starring Nikolaj Coster-Waldau, Carice van Houten, Eriq Ebouaney, Søren Malling, Paprika Steen, Nicolas Bro, Thomas W. Gabrielsson, Mohammed Azaay, Younes Bachir, and Guy Pearce.

Synopsis:

A Copenhagen police officer seeks justice for his partner’s murder by a mysterious man.

For a film mired in production troubles, Domino is… good. More than anything, it’s a testament to how strong of a filmmaker Brian De Palma is and remains to this day, overcoming numerous hurdles to present 89 minutes of lean crowd-pleasing thrills grounded in revenge and Isis hunting.

The actual narrative is fairly basic; two Copenhagen police officers receive a disturbance call at a nearby hotel and decide to check it out. What they find are a grisly murder and some heavy explosive equipment, subsequently and momentarily apprehending the man responsible, but not before an attempted escape followed by a highly exciting foot chase
See full article at Flickeringmyth »

‘Everybody Knows’ Review: Two Movie Stars, A Master and a Misfire

‘Everybody Knows’ Review: Two Movie Stars, A Master and a Misfire
Look what we’ve got here: Two married Oscar winners, Javier Bardem and Penelope Cruz, costarring in a movie written and directed by Iranian master Asghar Farhadi (A Separation, The Salesman). How do you miss with that combo? Consider this Exhibit A. Working in Spanish for the first time, the filmmaker somehow allows the interweaving threads of his plot to get tangled into a jumble even he can’t satisfactorily unravel. It’s a damn shame.

The drama centers on a wedding, always an emotional flashpoint for families. Cruz plays Laura,
See full article at Rolling Stone »

Cannes 2018. Correspondences #2: Opening Film, Longest Film

The Notebook is covering Cannes with an on-going correspondence between critics Lawrence Garcia and Daniel Kasman.Dear Danny,It's truly a pleasure to plunge into the jarring bustle of the Croisette once again—though Cannes, with its predilection for pomp, inevitably feels less like a familiar friend than an acquaintance that periodically seems to forget you exist. Still, for a non-veteran like myself, the luster has yet to fade—and if Cannes does, indeed, go on the offensive, it will be a more than welcome change. The excitement is high, the potential for failure, even higher, but the chances of a serendipitous discovery—the kind of cinematic encounter that makes, or should make, every festival experience worth it—are perhaps highest of all. At the very least, it’s a chance to learn some new names.First, though, an instantly recognizable one: Iran’s Asghar Farhadi, here with the aptly,
See full article at MUBI »

‘Everybody Knows’: Javier Bardem and Penelope Cruz Conquer Cannes with Globally Appealing Film, Plus Equal Pay

‘Everybody Knows’: Javier Bardem and Penelope Cruz Conquer Cannes with Globally Appealing Film, Plus Equal Pay
That’s the way Cannes is supposed to go: Debut your film on opening night at Cannes, sell it to Focus Features overnight, launch well in theaters in France, and meet cheers at the press conference the following day. Spain’s power couple Javier Bardem and Penelope Cruz (who have been working together since “Jamón Jamón” in 1992), anchor Asghar Farhadi’s kidnap thriller “Everybody Knows,” which they helped him to develop over five years. Part of the appeal for Focus was its potential for Hispanic audiences.

At the Wednesday morning press conference, the Spanish stars thanked their Iranian director, whose films have won two foreign-language Oscars (“A Separation” and “The Salesman”), for his hard work, attention to detail, and ability to listen and observe.

“He has a lie detector,” said Cruz, who saw the film for the first time last night and also shared that she and Bardem accepted equal pay for the work.
See full article at Thompson on Hollywood »

‘Everybody Knows’: Javier Bardem and Penelope Cruz Conquer Cannes with Globally Appealing Film, Plus Equal Pay

‘Everybody Knows’: Javier Bardem and Penelope Cruz Conquer Cannes with Globally Appealing Film, Plus Equal Pay
That’s the way Cannes is supposed to go: Debut your film on opening night at Cannes, sell it to Focus Features overnight, launch well in theaters in France, and meet cheers at the press conference the following day. Spain’s power couple Javier Bardem and Penelope Cruz (who have been working together since “Jamón Jamón” in 1992), anchor Asghar Farhadi’s kidnap thriller “Everybody Knows,” which they helped him to develop over five years. Part of the appeal for Focus was its potential for Hispanic audiences.

At the Wednesday morning press conference, the Spanish stars thanked their Iranian director, whose films have won two foreign-language Oscars (“A Separation” and “The Salesman”), for his hard work, attention to detail, and ability to listen and observe.

“He has a lie detector,” said Cruz, who saw the film for the first time last night and also shared that she and Bardem accepted equal pay for the work.
See full article at Indiewire »

Cannes 2018: ‘Everybody Knows’ Review: Dir. Asghar Farhadi (2018)

Everybody Knows review: Cannes 2018 gets off to a positive star with this twisty psychological drama from The Salesman filmmaker Asghar Farhadi.

Everybody Knows review by Paul Heath, May 2018.

Everybody Knows review

Asghar Farhadi officially opens the 2018 Cannes Film Festival with this supremely acted kidnapping drama cum murder-mystery which, despite its butt-numbing and plodding nature, somehow manages to hit all the right notes.

We open to a family wedding, deep in the heart of a rural Spain where Laura (Penelope Cruz) has returned from Argentina with her family – her teenage daughter, Irene (Carla Campra), and her young son, Diego (Ivan Chavero). She is attending the wedding of her sister Ana (Inma Cuesta), to Joan (Roger Casamajor), but it is apparent from the outset that there is some deep-rooted history that lies here. For example, there’s Javier Bardem’s local farmer Paco, who we know Laura once had a relationship with.
See full article at The Hollywood News »

Trailer Arrives For Cannes 2018 Opener ‘Everybody Knows’

Everybody Knows trailer

We announced just yesterday that Asghar Farhadi’s Everybody Knows will open the 2018 Cannes Film Festival, and now we can deliver the very first trailer for the film.

Javier Bardem and Penelope Cruz lead the cast of the film.

Asghar Farhadi’s 8th feature film, shot entirely in Spanish on the Iberian Peninsula, charts the story of Laura, who lives with her husband and children in Buenos Aires. When they return together to her native village in Spain for a family celebration, an unexpected event changes the course of their lives. The family, its ties and the moral choices imposed on them lie, as in every one of Farhadi’s scripts, at the heart of the plot.

According to the official release from Cannes organisers, José Luis Alcaine is director of photography on the film (a regular collaborator of Pedro Almodóvar, Carlos Saura and Bigas Luna), the
See full article at The Hollywood News »

‘Bowling for Columbine,’ ‘Female Trouble,’ and More Coming to the Criterion Collection

‘Bowling for Columbine,’ ‘Female Trouble,’ and More Coming to the Criterion Collection
The Criterion Collection is going bowling. Michael Moore’s Oscar-winning documentary “Bowling for Columbine” will be released on DVD and Blu-ray by the Collection this June, ditto “Manila in the Claws of Light,” “El Sur,” “Female Trouble,” and a new edition of Ingmar Bergman’s “The Virgin Spring.”

16 years later, Moore’s take on America’s gun culture in general and the aftermath of the school shooting at Columbine in particular feels more relevant than ever, making this new release nothing if not timely. More information — and, as ever, cover art — below.

Manila in the Claws of Light

Lino Brocka broke through to international acclaim with this candid portrait of 1970s Manila, the second film in the director’s turn to more serious-minded filmmaking after building a career on mainstream films he described as ‘soaps.’ A young fisherman from a provincial village arrives in the capital on a quest to track down his girlfriend,
See full article at Indiewire »

Asghar Farhadi’s ‘Everybody Knows’ With Penelope Cruz & Javier Bardem Starts Filming, Synopsis Revealed

Asghar Farhadi took home an Oscar this year for “The Salesman” without stepping a foot inside the Dolby Theater. His refusal to attend the ceremonies due to the President’s proposed Muslim ban spoke volumes, but now he’s putting politics aside, and to work on his next film.

So far we’ve known that Penelope Cruz, Javier Bardem, and Ricardo Darin are starring in picture, with Pedro Almodovar regulars composer Alberto Iglesias (who has scored nearly a dozen Almodovar films) and cinematographer Jose Luis Alcaine (“Volver,” “The Skin I Live In,” and other Almodovar movies lending their talents.

Continue reading Asghar Farhadi’s ‘Everybody Knows’ With Penelope Cruz & Javier Bardem Starts Filming, Synopsis Revealed at The Playlist.
See full article at The Playlist »

6 Challenges Facing New Academy President John Bailey

6 Challenges Facing New Academy President John Bailey
As new Academy president John Bailey opens up about what he plans to do in his new job, we read the tea leaves. He faces an unusually tumultuous time, as the Academy confronts multiple challenges, from the industry’s transition to digital, and pressures from ABC to increase viewership of the Oscar show, to the need to raise more funding to build the troubled $400 million Academy Museum at the Los Angeles County Museum of Art.

Here are Bailey’s main concerns. So far, he seems more than up to meeting this new assignment.

1. Will the Academy change its diversity outreach?

No. As someone who has long hired men and women of different ethnic, socio- economic, and racial backgrounds, Bailey supports Academy CEO Hudson’s outreach imperative via the A2020 program which is designed to double the Academy’s diverse membership by 2020. He’s proud of such Academy efforts as the Academy Gold internship program,
See full article at Indiewire »

6 Challenges Facing New Academy President John Bailey

6 Challenges Facing New Academy President John Bailey
As new Academy president John Bailey opens up about what he plans to do in his new job, we read the tea leaves. He faces an unusually tumultuous time, as the Academy confronts multiple challenges, from the industry’s transition to digital, and pressures from ABC to increase viewership of the Oscar show, to the need to raise more funding to build the troubled $400 million Academy Museum at the Los Angeles County Museum of Art.

Here are Bailey’s main concerns. So far, he seems more than up to meeting this new assignment.

1. Will the Academy change its diversity outreach?

No. As someone who has long hired men and women of different ethnic, socio- economic, and racial backgrounds, Bailey supports Academy CEO Hudson’s outreach imperative via the A2020 program which is designed to double the Academy’s diverse membership by 2020. He’s proud of such Academy efforts as the Academy Gold internship program,
See full article at Thompson on Hollywood »

New Details Emerge on Asghar Farhadi’s Next Film as Ricardo Darin Joins Cast

Asghar Farhadi‘s been spending some time on a (still-untitled) Spanish-language debut that’ll feature Penélope Cruz and Javier Bardem — so much so that, when he last began production on a feature, it wasn’t entirely clear whether it’d be this or what would become The Salesman. A year after that picture’s debut, things are moving full steam ahead: Screen Daily tells us he’s added Ricardo Darin, a.k.a. the actor in virtually every contemporary Argentinian film, and has a plan to begin shooting in a few months for a proposed Cannes 2018 premiere. He’s also lost Pedro Almodóvar as a producer, but that might be okay.

If nothing else, Farhadi will use the talents of frequent Almodóvar Dp José Luis Alcaine, along with composer Alberto Iglesias. Producer Alexandre Mallet-Guy (of The Salesman and The Past) says this will be the writer-director’s “most commercial film to date,
See full article at The Film Stage »

Ricardo Darin, Lucky Red, Morena join Asghar Farhadi thriller

  • ScreenDaily
Ricardo Darin, Lucky Red, Morena join Asghar Farhadi thriller
Exclusive: Pedro and Agustin Almodovar exit movie set to shoot in August.

Two-time Oscar winner and festival favourite Asghar Farhadi (The Salesman) was due to fly into Cannes last night to take part in tonight’s 70th edition opening ceremony as a special guest and talk to buyers about his upcoming, currently untitled Spanish-language thriller.

Argentine superstar Ricardo Darin has joined Penelope Cruz and Javier Bardem in the hotly anticipated project, which is due to shoot in Madrid from mid-August.

Darin is set to play Cruz’s husband from Buenos Aires in the family drama and psychological thriller which will explore how the kidnapping of a young girl leads to the unraveling of family secrets.

However, Pedro and Agustin Almodovar’s Spanish outfit El Deseo are no longer on board to produce the movie.

The $12-13m project is now being made as a French-Spanish-Italian co-production with French producer Alexandre Mallet-Guy (producer of Farhadi’s The Past
See full article at ScreenDaily »

Women on the Verge of a Nervous Breakdown

Women on the Verge of a Nervous Breakdown

Blu-ray

The Criterion Collection 855

1988 / Color / 1:85 widescreen / 89 min. / Mujeres al borde de un ataque de nervios / available through The Criterion Collection / Street Date February 21, 2017 / 39.95

Starring Carmen Maura, Fernando Guillén, Antonio Banderas, Julieta Serrano, Rossy de Palma, María Barranco, Kiti Manver, Guillermo Montesinos, Chus Lampreave, Yayo Calvo, Loles León, Ángel de Andrés López, José Antonio Navarro.

Cinematography: José Luis Alcaine

Film Editor: José Salcedo

Original Music: Bernardo Bonezzi

Produced by: Augustin Almodóvar

Written and Directed by Pedro Almodóvar

Connected film festival attendees learned about Pedro Almodóvar before everybody else, especially if they had an understanding of new developments in Spanish cinema. Film school had shown us nothing but the very exceptional work of Luis Buñuel, most of which is really from Mexico and France. In the 1980s we Angelenos were just getting access to films by the old-school ‘traditional’ rebel Spaniards Carlos Saura and Juan Antonio Bardem.
See full article at Trailers from Hell »

Antonio Banderas begins Altamira shoot

  • ScreenDaily
Antonio Banderas begins Altamira shoot
First image released of period drama from Chariots of Fire director Hugh Hudson.

Principal photography has begun on period drama Altamira, directed by Hugh Hudson (Chariots of Fire, Greystoke) and starring Antonio Banderas.

Production will take place on location in Northern Spain.

The English-language production also stars Golshifteh Farahani, Nicholas Farrell, Henry Goodman, Pierre Niney, Clément Sibony, Tristan Ulloa, Irene Escolar and Rupert Everett. British actress Allegra Allen makes her film debut.

The screenplay is by Olivia Hetreed (Girl with a Pearl Earring; Wuthering Heights) and Jose Luis Lopez-Linares. José Luis Alcaine (The Skin I Live In) is the cinematographer.

Producers are Lucrecia Botín, Alvaro Longoria from Spain’s Morena Films and Andy Paterson from the UK’s Sympathetic Ink. Alexandra Lebret, of France’s Mare Nostrum co-produces with Laura Bickford as executive producer.

The film tells the true story of nine-year old Maria (Allen) and her father Marcelino (Banderas) who, in 1879, found
See full article at ScreenDaily »

Blu-ray, DVD Release: Tie Me Up! Tie Me Down!

Blu-ray & DVD Release Date: Aug. 19, 2014

Price: DVD $29.95, Blu-ray/DVD Combo $39.95

Studio: Criterion

Antonio Banderas and Victoria Abril get to know each other in Tie Me Up! Tie Me Down!

The rambunctious 1990 dark comedy Tie Me Up! Tie Me Down! is Spanish filmmaker Pedro Almodóvar’s (Broken Embraces) colorful and controversial tribute to the pleasures and perils of Stockholm syndrome.

The film stars Antonio Banderas (Haywire) as an unbalanced but alluring former mental patient and Victoria Abril (Walking Vengeance) as the B-movie and porn star he takes prisoner in the hopes of convincing her to marry him.

A highly unconventional romance that came on the spike heels of Almodóvar’s international sensation Women on the Verge of a Nervous Breakdown, this is a splashy, sexy central work in the career of one of the international cinema’s most beloved and provocative auteurs, radiantly shot by the director’s great cinematographer José Luis Alcaine
See full article at Disc Dish »
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