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4 Upcoming Non-Blockbuster Films That Deserve Your Excitement

Samuel Brace with four upcoming non-blockbuster films that deserve your excitement…

It’s particularly easy in this business to merely focus on the high profile movies that will make serious dents at the box office, or that will reap the most plaudits come awards season, but to limit one’s attention to only these categories is a mistake. There is far more to cinema than the big blockbusters and “please-love-me” biopics. Marvel and Star Wars occupy a significant amount of our cinematic bandwidth – often for good reason – but their yearly efforts shouldn’t consume every last inch of our attention. With this in mind, I wanted to spend, if you will allow it, my little corner of the internet shedding some light – for those who don’t know – on four upcoming non-blockbuster films that deserve our excitement. These are films outside of the mainstream, these are films that could be hit or miss,
See full article at Flickeringmyth »

Mélanie Laurent, Ben Foster, and Elle Fanning on the dark allure of Galveston

  • The AV Club
Best known for her roles in Inglourious Basterds and the French drama Don’t Worry, I’m Fine, Mélanie Laurent is also a talented director, with three feature films under her belt. Her next film, Galveston, based on the 2010 book of the same name, stars Ben Foster as a hitman who rescues a young sex worker, played by…

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See full article at The AV Club »

SXSW Review: ‘Galveston’ is a Frustratingly Hollow Road Movie

Adapted from the novel by Nic Pizzolatto, the fourth feature from Mélanie Laurent, Galveston, focuses on perhaps the least interesting part of its narrative, closing on a scene that would have made for a better beginning of a movie than the beautifully lensed but derivative road movie it ends up being.

Opening in New Orleans in 1988, Ben Foster stars as Roy, an ex-con/hitman working for Stan (Beau Bridges), a powerful boss who sends him out to do a job that ultimately falls apart in a graphic shootout. In the aftermath of the shootout, Roy finds Raquel (Elle Fanning), a call girl left in the house. Now a wanted man after the job went sideways, Roy and Raquel go on the run.

Heading south, they make a pit stop to save Tiffany, Raquel’s three-year-old sister, who lives with their father. Initially, Roy, a straight shooter living on borrowed time
See full article at The Film Stage »

Mélanie Laurent on Galveston, Affordable Song Rights and Directors (Not) Working with Actors at SXSW 2018

The movie: Galveston The Plot: On the run from a New Orleans mobster (Beau Bridges), a dying hit man (Ben Foster) and a sex worker (Elle Fanning) hit the road for the titular location. Based on the novel by True Detective author Nic Pizzolatto. The Interviewee: Writer/director Mélanie Laurent. This is the French filmmaker’s first English-language feature as director. As an actress, she has appeared in Inglorious Bastards, Beginners and By the Sea. Filmmaker: There’s an interesting quote from you in the press notes that says something like “This is a story that maybe wasn’t meant for me, but I […]
See full article at Filmmaker Magazine »

10 Films Premiering at SXSW '18 To Watch

  • Cinelinx
SXSW 2018 is upon us. Here are 10 films, without Tomatometers to guide us comfortably, premiering at this year's fest that you can bet on.

Relaxer - Joel Potrykus

Dogged to deteriorate ‘til he clobbers the unclobberable, Abby can’t flee his dent in the couch til he bests his brother’s bet to beat level 256 of Pac-Man. The stakes are, in that Potrykus way, only as strong as the disillusioned hero can envisage. Sleepless, stagnating, running on processed dairy, Abby’s obstacle might be Potrykus’s most menacing yet.

Screenings.

Don’t Leave Home - Michael Tully

Michael Tully’s first feature since the low-dose nostalgia trip Ping Pong Summer leaves comfort for myth and mystery, a curiosity and obsession that leads an artist away from the hearth.

Screenings.

Field Guide To Evil - Anthology

This ”Global dark folklore anthology” features shorts from The Lure director Agniezka Smoczynska, Goodnight Mommy’s
See full article at Cinelinx »

First Trailer for Mélanie Laurent’s ‘Plonger’ Plumbs the Depths of Love

Mélanie Laurent hasn’t been onscreen a great deal as of late, but she has the ideal excuse: she’s been busy behind the camera. Following her astounding drama Breathe, she co-directed another feature and now she’s back with two more films. While the Elle Fanning-led Galveston won’t arrive until 2018, at Tiff this year she debuted Plonger, which follows a Spanish photographer who takes up deep-sea diving and falls in love with a French war correspondent.

While it hasn’t been picked up for a release in the United States, it’ll debut in France later this month and now the first trailer has landed. Shaping up to be an other beautiful, emotional feature from the actress-turned-director, hopefully U.S. distributors are taking note. Check out the trailer (no subtitles yet, but we’ll update when they arrive), Tiff synopsis, and poster below for the film starring Gilles Lellouche and Maria Valverde.
See full article at The Film Stage »

Mélanie Laurent, Nick Kroll Join Operation Finale

by Ilich Mejía

Back in March, Oscar Isaac first announced he would be producing and starring in Chris Weitz's Operation Finale. Weitz (Rogue OneThe Golden Compass) will be directing a script written by newcomer Matthew Orton. Set in 1960's Argentina, the film is based on the true story of a number of Israeli spies on a mission to capture Nazi official Adolf Eichmann (history as spoilers if you've been meaning to get to those History Channel documentaries, but keep watching Barefoot Contessa instead). Actress turned director Mélanie Laurent and comedian Nick Kroll join the already announced cast of Isaac and Ben Kingsley as real estate brokers looking to buy major acreage in next year's Oscar race...
See full article at FilmExperience »

20 Female Directors Who Will Rule This Fall Festival Season, Including Agnes Varda, Greta Gerwig, Dee Rees, and More

20 Female Directors Who Will Rule This Fall Festival Season, Including Agnes Varda, Greta Gerwig, Dee Rees, and More
Girl Talk is a weekly look at women in film — past, present, and future.

The fall festival season has long been a harbinger of things to come, from the contenders that will consume months of awards season jockeying to bright new talents just making their first big splashes, and this year brings with it another glimpse of the future: one that’s filled with new films from a wide variety of female filmmakers.

From Venice to Toronto, New York to Telluride, this year’s fall festival circuit is filled with new offerings from from female filmmakers of every stripe, including 20 that we’ve hand-picked as the ones to keep an eye on during the coming weeks.

First-time feature filmmakers like Maggie Betts, Brie Larson, and the Mulleavey sisters are out in full force, along with the return of mainstays like Angelina Jolie, Lynn Shelton, and Susanna White. There are plenty
See full article at Indiewire »

Tiff 2017. Lineup

  • MUBI
ThelmaA selection of films from the 2017 edition of the Toronto International Film Festival has been unveiled, with new films by Sebastián Lelio, Deniz Gamze Ergüven, Darren Aronofsky, Greta Gerwig, Guillermo Del Toro, Joachim Trier, Wim Wenders, and many more.Special PRESENTATIONSOpening Night: Ladybird (Greta Gerwig)Closing Night: Sheikh Jackson (Amr Salama)Battle of the Sexes (Valerie Faris & Jonathan Dayton)Bpm (Beats Per Minute) (Robin Campillo)The Brawler (Anurag Kashyap)The Breadwinner (Nora Twomey)Call Me By Your Name (Luca Guadagnino)Catch the Wind (Gaël Morel)The Children Act (Richard Eyre)The Current War (Alfonso Gomez-Rejon)Disobedience (Sebastián Lelio)Downsizing (Alexander Payne)A Fantastic Woman (Sebastián Lelio)First They Killed My Father (Angelina Jolie)The Guardians (Xavier Beauvois)Hostiles (Scott Cooper)The Hungry (Bornila Chatterjee)I, Tonya (Craig Gillespie)Mother! (Darren Aronofsky)Novitiate (Maggie Betts)Omerta (Hansal Mehta)Plonger (Mélanie Laurent)The Price of Success (Teddy Lussi-Modeste)Professor Marston & the Wonder Women
See full article at MUBI »

Toronto ‘17: Galas and Special Presentations

Toronto ‘17: Galas and Special Presentations
Of the 14 Galas and 33 Special Presentations, this first announcement includes 25 World Premieres, eight International Premieres, six North American Premieres, and eight Canadian Premieres, including works from Canada, the United States, the United Kingdom, France, Germany, Spain, Ireland, Luxembourg, Belgium, Norway, Sweden, Denmark, India, Egypt, and Cambodia.

This year, Tiff offers a refreshed, more tightly curated Festival, with a renewed commitment to bold, director-driven programming, continued support of female filmmakers, and enough star power to fuel 400,000 festival-goers.

Kings by Deniz Gamze Ergüven starring Haile Berry

Today’s announcement cements that the future is female (and so is Tiff’s programming), with Gala films from emerging and established filmmakers that include Kings by Deniz Gamze Ergüven, whose 2015 Festival feature Mustang earned an Oscar nod for Best Foreign Film; Mary Shelley by Haifaa Al Mansour, the first female Saudi director; Dee ReesMudbound, an adaptation of Hillary Jordan’s novel about racial tensions
See full article at SydneysBuzz »

50 Overlooked Indie Movies You Must Stream on Netflix

50 Overlooked Indie Movies You Must Stream on Netflix
Netflix adds new movies almost every day, which only makes it harder to find ones worth watching. That’s where IndieWire comes in. From low-budget American gems to foreign film masterpieces, these are the overlooked independent movies you’ve got to make time for on Netflix. All titles are now available to stream.

Read More: 7 Netflix Original Movies That Are Worth Seeking Out

“6 Years” (2015)

“6 Years” provides a moving snapshot of a troubled relationship. The movie follows a young couple facing the titular anniversary as their future is challenged by various spats and infidelities. With an improvisatory style and two heartbreaking performances from Taissa Farmiga and Ben Rosenfield, “6 Years” imbues its traditional narrative with a fiery edge. Read IndieWire’s review.

“A Woman, A Part“ (2016)

In her feature directorial debut, Elisabeth Subrin confronts industry-wide sexism head on, making it clear that her protagonist’s experiences are not unique and dismantling any
See full article at Indiewire »

Tiff 2017: 'Kings', 'Stronger', 'mother!' among line-up

  • ScreenDaily
Tiff 2017: 'Kings', 'Stronger', 'mother!' among line-up
Update: Tiff unveils Galas, Special Presentations selections.

Deniz Gamze Ergüven’s Mustang follow-up Kings (above), David Gordon Green’s Boston Marathon drama Stronger starring Jake Gyllenhaal, Joe Wright’s Darkest Hour starring Gary Oldman as Winston Churchill, and Darren Aronofsky’s mother! with Jenifer Lawrence and Javier Bardem are among the initial wave of Toronto International Film Festival (Tiff) picks announced on Tuesday.

Kings ia a world premiere, alongside many others (see below) including Hany Abu-Assad’s plane crash survivor drama The Mountain Between Us with Kate Winslet and Idris Elba, Craig Gillespie’s I, Tonya starring Margot Robbie, Wim Wender’s romantic thriller Submergence with Alicia Wikander and James McAvoy, Mahamat-Saleh Haroun’s immigration drama A Season In France, and two from The Weinstein Company: The Current War starring Benedict Cumberbatch, Michael Shannon, Tom Holland, and Nicholas Hoult, and Neil Burger’s Intouchables remake starring Bryan Cranston, Kevin Hart, and [link=nm
See full article at ScreenDaily »

Tiff 2017: 'Darkest Hour', 'Kings', 'mother!' among line-up

  • ScreenDaily
Tiff 2017: 'Darkest Hour', 'Kings', 'mother!' among line-up
Update: Tiff unveils Galas, Special Presentations selections.

Joe Wright’s Darkest Hour (above) starring Gary Oldman as Winston Churchill, Deniz Gamze Ergüven’s Mustang follow-up Kings, and Darren Aronofsky’s mother! with Jenifer Lawrence and Javier Bardem are among the initial wave of Toronto International Film Festival (Tiff) picks announced on Tuesday.

Toronto promgrammers updated the premiere status of each film announced in Galas and Special Presentations on Tuesday morning. Darkest Hour is a Canadian premiere, suggesting Telluride and possibly Venice berths, while mother! is a North American premiere, which indicates a world premiere slot in Venice.

Kings ia a world premiere, alongside many others (see below) including Hany Abu-Assad’s plane crash survivor drama The Mountain Between Us with Kate Winslet and Idris Elba, David Gordon Green’s Boston Marathon drama Stronger with Jake Gyllenhaal, and Craig Gillespie’s I, Tonya starring Margot Robbie, Wim Wender’s romantic thriller Submergence with Alicia Wikander and James McAvoy, [link
See full article at ScreenDaily »

Tiff 2017 Lineup Includes ‘The Shape of Water,’ ‘mother!,’ ‘Downsizing,’ and More

Even though Toronto International Film Festival have reduced their lineup by around 20% when compared to past years, there’s no shortage of high-profile premieres and potential discoveries. Ahead of the festival, which runs from September 7 through 17, they’ve now unveiled the first look at their lineup, including Guillermo del Toro’s The Shape of Water, Darren Aronofsky’s mother!, Alexander Payne’s Downsizing, George Clooney’s Suburbicon, Greta Gerwig’s directorial debut Lady Bird (opening the festival), Martin McDonagh’s Three Billboards Outside Ebbing, Missouri, Joe Wright’s Darkest Hour, and many more.

There’s also past festival favorites, including Luca Guadagnino’s Call Me By Your Name, Ruben Östlund’s Palme d’Or winner The Square, The Rider, Mudbound, and more. Other highly-anticipated projects include Joachim Trier’s Thelma, Sebastián Lelio’s Disobedience (whose A Fantastic Woman is also in the lineup), the Jessica Chastain-led Woman Walks Ahead,
See full article at The Film Stage »

Tiff Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’

Tiff Reveals First Slate of 2017 Titles, Including ‘The Shape of Water,’ ‘Downsizing,’ and ‘Call Me By Your Name’
This year’s Toronto International Film Festival still is over a month from kicking off, but the starry annual event is pulling out zero stops when it comes to its first official slate announcement. The festival will close out with Olivier Nakache and Eric Toledo’s “C’est la vie!,” and the Special Presentations section will open with Greta Gerwig’s directorial debut, “Lady Bird,” and close with Amr Salama’s “Sheikh Jackson.”

Today’s first glimpse of this year’s programing include a slew of 2017’s most anticipated features, including Guillermo del Toro’s adult fairy tale “The Shape of Water,” Alexander Payne’s Matt Damon-starring comedy “Downsizing,” Darren Aronofsky’s secretive “mother!,” George Clooney’s reportedly uber-violent “Suburbicon,” and Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri.”

And that is just the tip of a very big iceberg, one that today includes the announcement of both Gala and Special Presentations titles.
See full article at Indiewire »

Tomorrow Screens at Webster University July 21st – 25th

Tomorrow screens Friday, July 21st through Tuesday July 25th at Webster University’s Moore Auditorium (470 East Lockwood). The movie starts each evening at 8:00pm.

In 2012, “Nature” published a study led by more than 20 researchers from the top scientific institutions in the world predicting that humankind could disappear between 2040 and 2100. It also said that it could be avoided by drastically changing our way of life and take appropriate measures. Shortly after giving birth to her first child, French actress and director Mélanie Laurent (Inglorious Bastards) became increasingly aware of the dangers and the state of urgency that her son will face in the future. Along with friend and activist Cyril Dion and their crew, she decided to travel the world in search of solutions that can help save the next generations. The result is Tomorrow, an inspiring documentary that presents concrete solutions implemented throughout the world by hundred of communities.
See full article at WeAreMovieGeeks.com »

Sofia Coppola: The Specific Touch of Femininity

The Virgin SuicidesIn 2015, three significant films were released: Deniz Gamze Ergüven’s Mustang, Mélanie Laurent’s Breathe and Céline Sciamma Girlhood. All three are female stories devoid of the faux candor associated with many male-directed ‘women’s stories.’ There is an astonishing amount of authenticity in these wildly different films, each playing with explorations of the teenage girl psyche with wildly differing results. In Mustang, we met girls whose spirits could never be broken, no matter the odds or imprisonments they faced, from societal to literal, when they’re confined in their home. In Girlhood, we learned these imprisonments could be as psychological and socially constructed as the physical bars placed on their windows in Ergüven’s feature. And in Laurent’s psycho-drama, we face the realities and interplay of teenage cruelty and intimacy found in female friendships in that developmental stage. These films aren’t playing to strictly a female audience, but they feel refreshingly tailor-made to do so. They’re offering up honest and raw depictions of girlhood and femininity on the creative landscape and it was often beautiful, sometimes tragic and all together worth celebrating. It’s something that filmmaker Sofia Coppola has been doing her entire career, and her latest release, the remake of The Beguiled, drives home this point further.Over the course of her career Coppola has developed a distinctive approach to her filmmaking. Her distinct style utilizes—and nearly favors—visuals as a means of storytelling (I’d argue she could tell the same stories in silence with her visual finesse). Along the way she’s also developed an unabashed feminine perspective that, combined with her eye for stylish filmmaking, has set her apart from her male contemporaries. She isn’t just telling stories about women but imbuing them with a sense of femininity.It starts with color, building a point of view from a vibrant palette and the way in which the cinematography capture each female character. A common complaint in current cinema—particularly in blockbusters and tentpole films—has been the gray color grading. Movies that should pop ultimately end up blending in with their background. Coppola defies this expectation, relishing in the pinks of the hats Marie Antoinette or in Scarlett Johansson’s wig in Lost in Translation. She finds color in the yellows of the kitchen in Somewhere—the sunlight radiating through the shades covering a window—or in the baby blues of the sky whizzing past Antoinette. We see the blues that swallow Elle Fanning whole in Somewhere as she hosts a tea party beneath the surface of a pool. She utilizes stark whites in Antoinette's lavish, daisy-infested fields and the sun-bleached morning-after in The Virgin Suicides. Her color palette is distinctive and gives her films a fantastical atmosphere, adding to their unabashed femininity. Her colors aren’t loud and vibrant or muted and hollow, serving as much of a purpose as her storytelling.Her films’ image subvert the male gaze by never allowing the female characters to be exploited as they view her cinematic universe instead through a female friendly lens. We watch the sisters of The Virgin Suicides from afar, sure, and Johansson is sometimes looked at through the eyes of Bill Murray, but more often than not we’re given looks into the worlds of female characters born into male-dominated spaces. Their inclusion is worthy of curiosity, judgement, disdain or damaging admiration. As Roger Ebert once said in a review for Marie Antoinette:“This is Sofia Coppola’s third film centering on the loneliness of being female and surrounded by a world that knows how to use you but not how to value and understand you. [...] Every criticism I have read of this film would alter its fragile magic and reduce its romantic and tragic poignancy to the level of an instructional film. ”When we meet most of Coppola’s delicate, youthful characters in moments of severe isolation—be it on a lonesome carriage ride through a foggy morning, alone in an expansive hotel room meant for two, or in a household where rules are inflicted to keep its inhabitants sheltered and painfully lonely. From The Virgin Suicides to this year's The Beguiled, Coppola has depicted isolation as one of her major themes, approached particularly through the specific point of view.The femininity comes from Coppola’s understanding of these women beyond their psychological or physical cages. So often in films about women, the female characters exist without any sense of female identity; they’re simply judged on their actions, their features or what a wider audience can relate to. Movies about weddings, having children and being mothers and girlfriends play on tropes of what it means “to be a woman” without exploring what it means to be a woman. Coppola, typically working from a place of interested in adolescents mature beyond their years, shows rather than tells us aspects of being a woman through all historical settings and walks of life. Throughout much of cinema’s mainstream history we’ve been told just exactly what it means “to be a man,” definitions that may have changed throughout the decades but have still been firmly covered in a layer of masculine attitude. We have films that dedicate their stories from a male character's birth to their death, detailing the ins and outs of what makes that particular guy tic. For women that sort of nuance through different time periods is much more difficult to come across, and it’s why voices such as Coppola’s are so poignant; they reach and grab hold of those looking for stories they can relate to, that mirror who they are or were in certain periods of their lives. (Until this point, she has had little to no diversity in her films and is mainly showcasing white femininity. Hopefully this is something she’ll change in the future.)All of this makes her directing The Beguiled remake so fascinating. Originally filmed by Don Siegel, adapted from Thomas P. Cullinan’s novel, and starring Clint Eastwood as Corporal John ‘McBee’ McBurney, this is a man’s story: after being wounded during the Civil War, McBurney is taken in by a Southern all-girls boarding school. The female characters are more sinister and less sympathetic. In Coppola’s version there are similar tropes of the mighty headmistress and the school’s young seductress, but yet again, we’re given these depictions through the female point of view; these women have increased agency as we see the story unfold from their worldview. As is the case with The Virgin Suicides, the girls of the boarding house are kept inside and isolated for their own safety, making them curious about and isolated from the outside world. Like with Marie Antoinette, it’s women living amidst the mess men have made, thrown into a society that has displaced them. Coppola’s themes are undoubtedly recurring, flexible and timeless enough to be able to encompass all walks of life that women can identify with, spread wide across history.Coppola’s films are full to the brim with unabashed and gleeful femininity. It’s shown in the way Fanning's role of the daughter in Somewhere is polished and poised, showcasing the wisdom girls possess from a young age as she helps her father (Stephen Dorff) out of his jaded shell. It’s in the naiveté of the sisters of The Virgin Suicides, but also in their world weariness in the face of boyish neighbors who take interest in the reclusive girls. Coppola dismantles the idea of depicting mysterious and shielded women as enigmas rather than humans. We see it in casual shots of modern Converse shoes scattered amongst decadent heels in Marie Antoinette, or in its titular character enjoying the pleasures of sex at her own pace. It is in Johansson’s unyielding gaze and youthful yearning in Lost in Translation and hell, even Emma Watson’s self-absorption in The Bling Ring. To be a female character in Coppola’s film is more than presenting a gender or a trope but instead the director makes the “radical” decision to depict women in all of their grace, kindness, misery and determination in ways that feel very honest.
See full article at MUBI »

The 25 greatest movies about making movies

Mark Harrison May 19, 2017

From the currently playing Their Finest to the likes of Bowfinger and Boogie Nights, we salute the movies about making movies...

If you haven't caught up yet, Their Finest is currently playing in UK cinemas and it's a gorgeous little love letter to perseverance through storytelling, set against the backdrop of a film production office at the British Ministry of Information during the Second World War. Based on Lissa Evans' novel, Gemma Arterton and Bill Nighy play characters whose access to the film industry has been contingent on the global crisis that takes other young men away from such trifling matters, and it's a real joy to watch.

Among other things, the film got us thinking about other films about making films. We're not talking about documentaries, even though Hearts Of Darkness, the documentary about the making of Apocalypse Now, may be the greatest film about
See full article at Den of Geek »

Film Review: ‘Tomorrow’ (Demain)

Film Review: ‘Tomorrow’ (Demain)
What a difference a year makes. In late 2015, Mélanie Laurent and Cyril Dion’s fresh-faced, paradoxically upbeat documentary about the complex, interrelated, and potentially apocalyptic issues facing our globalized world opened in France. The educational, continent-hopping investigation was a surprise hit, racking up more than a million admissions, winning the 2016 César for Best Documentary, and becoming a focal point for a gathering movement of citizens committed to putting its practical, inspiring, think-global-act-local solutions into practice.

Roughly 16 months — and a highly divisive and contentious Us election — later, it opens in America, just two days before France itself is due to go to the polls, fielding a far-right candidate for president who was among the only world leaders to call and congratulate Donald Trump’s win in the U.S. The political landscape that “Tomorrow” breezes into now is such that its issues, cataclysmically urgent though they are, could seem de-prioritized.

The
See full article at Variety - Film News »
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