Considering his hilarious multiple Emmy-winning work on Schitt’s Creek, this markedly different feature filmmaking debut as writer-director-producer and star from Daniel Levy is a revelation — and a welcome one. The appropriately titled Good Grief explores exactly what that name implies, as Levy uses his own experience as an impetus to paint a larger picture of love, loss and grief in all its complexity. But at its heart, this impressive if sometimes tonally dicey story is also about the complications — and importance — of friendship in a scenario that revolves around a trio of BFFs who take a life-changing trip to Paris and get more than they each bargained for.
The opening sets the stage, as we meet Marc (Levy) at a holiday party in the spacious and impressive London apartment, where his flamboyant and successful filmmaker husband Oliver (Luke Evans) is sucking up all the energy.
Marc is an artist (his poignant paintings that play a part in the film’s finale are by Kris Knight) but clearly lives in the shadow of his more famous partner. But it seems to be a life they both love.
In the crowd are Marc’s good friends, the vivacious and lively Sophie (Ruth Negga) and Thomas (Himesh Patel), the latter once a romantic interest for Marc before their breakup and his subsequent relationship and marriage to Oliver. However, tragedy rears its head, as Oliver heads out from the party to grab a cab to the airport and dies in a head-on collision before leaving the street.
The grieving process begins but doesn’t end with the emotional funeral for Oliver, and it all comes to a crescendo a year later and in another holiday season, where friends Sophie and Thomas convince Marc it is time to move on, and one way to do it is to finally read the card Oliver had left him for him as he took off that fateful evening.
In it is far more than he ever bargained for, and to say it provides complications is an understatement. Those only pile up when Marc and Oliver’s lawyer Imelda (Celia Imrie – wonderful) reveals Oliver had a lavish Paris apartment, the existence of which he never shared with his husband. “I guess now is not the time to talk about your will,” she deadpans.
Joined by his two best friends for what they think will be finally a snapping-back-to-life for Marc, the trio heads off for a fun few days to Paris, but unbeknownst to them, Marc is privately on a mission to discover the answer to all the secrets left behind by Oliver, with whom he apparently had an open marriage, a plot point tossed in and given oddly short shrift in Levy’s script.
Although this offers plenty of melodramatic opportunities for Levy, he fortunately resists laying on the soapy elements. It really is just as much a chance to focus on three individuals whose own problems hit the boiling point in different ways that not only reveal truths for each, but also their longtime connection to each other. The balancing act in a movie that is largely about the process and the price of grief is formidable for the debuting filmmaker, who is better known for his comedic chops. But it is just promising enough to make us look forward to where he goes next. The guy is a quadruple threat and an assured talent.
Levy’s ability for directing actors and giving them juicy roles is evident immediately with choice turns by both Negga, sensational as the freewheeling and fun Sophie, and Patel, who is completely believable as he winds himself up in a frenzy at the individual and unexpected actions of his buddies.
It is also a credit to Levy, who lets both of these exceptional actors steal all the scenes they are in. Even though Levy’s Marc is at the center of this, he is somewhat weighed down, having to first play so much grief, and then the complex reaction to the dark situation Oliver has handed him in death.
There are others in the mix as well including Arnaud Valois as Theo, a brief attraction for Marc in Paris that turns into an opportunity to escape the hold Oliver still has on him, and Medhi Baki as Luca, a mystery man with a key to answering some of the unanswered questions.
Emma Corrin also turns up briefly as a performance artist, as does Kaitlyn Dever. But neither has much to do. Evans hits all the right notes as Oliver, even if his presence in the story is felt more offscreen after his character’s early demise.
Paris has never looked more inviting than it does here with Ole Bratt Birkeland’s sumptuous cinematography. The handsome production design of both the London and Paris apartments is perfectly handled by Alice Normington, as are the flashy fashions of costume designer Julian Day. A big shoutout to Rob Simonsen’s music score, and the soundtrack delivered by music supervisor Season Kent, with some terrific songs from the likes Bonnie Raitt, Elton John and especially Neil Young’s haunting evergreen “Only Love Can Break Your Heart.”
Producers are Levy, Megan Zehmer, Debra Hayward and Kate Fenske. Executive producers are Stacey Snider and Caroline Levy.
Title: Good Grief
Distributor: Netflix
Release Date: December 29, 2023 in select theatres; January 5 streaming
Director-screenwriter: Daniel Levy
Cast: Daniel Levy, Ruth Negga, Himesh Patel, Luke Evans, Celia Imrie, Arnaud Valois, Emma Corrin, Kaitlyn Dever, David Bradley, Medhi Baki
Rating: R
Running time: 1 hr 40 min...
The opening sets the stage, as we meet Marc (Levy) at a holiday party in the spacious and impressive London apartment, where his flamboyant and successful filmmaker husband Oliver (Luke Evans) is sucking up all the energy.
Marc is an artist (his poignant paintings that play a part in the film’s finale are by Kris Knight) but clearly lives in the shadow of his more famous partner. But it seems to be a life they both love.
In the crowd are Marc’s good friends, the vivacious and lively Sophie (Ruth Negga) and Thomas (Himesh Patel), the latter once a romantic interest for Marc before their breakup and his subsequent relationship and marriage to Oliver. However, tragedy rears its head, as Oliver heads out from the party to grab a cab to the airport and dies in a head-on collision before leaving the street.
The grieving process begins but doesn’t end with the emotional funeral for Oliver, and it all comes to a crescendo a year later and in another holiday season, where friends Sophie and Thomas convince Marc it is time to move on, and one way to do it is to finally read the card Oliver had left him for him as he took off that fateful evening.
In it is far more than he ever bargained for, and to say it provides complications is an understatement. Those only pile up when Marc and Oliver’s lawyer Imelda (Celia Imrie – wonderful) reveals Oliver had a lavish Paris apartment, the existence of which he never shared with his husband. “I guess now is not the time to talk about your will,” she deadpans.
Joined by his two best friends for what they think will be finally a snapping-back-to-life for Marc, the trio heads off for a fun few days to Paris, but unbeknownst to them, Marc is privately on a mission to discover the answer to all the secrets left behind by Oliver, with whom he apparently had an open marriage, a plot point tossed in and given oddly short shrift in Levy’s script.
Although this offers plenty of melodramatic opportunities for Levy, he fortunately resists laying on the soapy elements. It really is just as much a chance to focus on three individuals whose own problems hit the boiling point in different ways that not only reveal truths for each, but also their longtime connection to each other. The balancing act in a movie that is largely about the process and the price of grief is formidable for the debuting filmmaker, who is better known for his comedic chops. But it is just promising enough to make us look forward to where he goes next. The guy is a quadruple threat and an assured talent.
Levy’s ability for directing actors and giving them juicy roles is evident immediately with choice turns by both Negga, sensational as the freewheeling and fun Sophie, and Patel, who is completely believable as he winds himself up in a frenzy at the individual and unexpected actions of his buddies.
It is also a credit to Levy, who lets both of these exceptional actors steal all the scenes they are in. Even though Levy’s Marc is at the center of this, he is somewhat weighed down, having to first play so much grief, and then the complex reaction to the dark situation Oliver has handed him in death.
There are others in the mix as well including Arnaud Valois as Theo, a brief attraction for Marc in Paris that turns into an opportunity to escape the hold Oliver still has on him, and Medhi Baki as Luca, a mystery man with a key to answering some of the unanswered questions.
Emma Corrin also turns up briefly as a performance artist, as does Kaitlyn Dever. But neither has much to do. Evans hits all the right notes as Oliver, even if his presence in the story is felt more offscreen after his character’s early demise.
Paris has never looked more inviting than it does here with Ole Bratt Birkeland’s sumptuous cinematography. The handsome production design of both the London and Paris apartments is perfectly handled by Alice Normington, as are the flashy fashions of costume designer Julian Day. A big shoutout to Rob Simonsen’s music score, and the soundtrack delivered by music supervisor Season Kent, with some terrific songs from the likes Bonnie Raitt, Elton John and especially Neil Young’s haunting evergreen “Only Love Can Break Your Heart.”
Producers are Levy, Megan Zehmer, Debra Hayward and Kate Fenske. Executive producers are Stacey Snider and Caroline Levy.
Title: Good Grief
Distributor: Netflix
Release Date: December 29, 2023 in select theatres; January 5 streaming
Director-screenwriter: Daniel Levy
Cast: Daniel Levy, Ruth Negga, Himesh Patel, Luke Evans, Celia Imrie, Arnaud Valois, Emma Corrin, Kaitlyn Dever, David Bradley, Medhi Baki
Rating: R
Running time: 1 hr 40 min...
- 12/29/2023
- by Pete Hammond
- Deadline Film + TV
“I think the most challenging thing was working in Essex with the weather and the tides and the mud,” reveals Alice Normington, the production designer of the limited series “The Essex Serpent” on Apple TV+. Set in the late 19th century, the six episodes follow a naturalist Cora Seaborne (Claire Danes), who travels from London to Essex to investigate rumors of a mythical creature that has been terrorizing the fishing community. The locations are visually stunning, but the set designer admits, “I don’t think any of us had any idea how much the tides would dictate what we could and couldn’t do.” Even so, she says, “It was worth it.” Watch our exclusive video interview above.
The series begins in London, where Cora’s abusive husband has just died. Normington describes the choice of the deep red on the walls of her husband’s bedchamber, saying London is “Cora’s hell…...
The series begins in London, where Cora’s abusive husband has just died. Normington describes the choice of the deep red on the walls of her husband’s bedchamber, saying London is “Cora’s hell…...
- 5/28/2022
- by David Buchanan
- Gold Derby
The Essex Serpent” production designer Alice Normington and costume designer Jane Petrie centered their work on the journey of the show’s protagonist Cora Seaborne, played by Claire Danes.
Based on the Sarah Perry novel, the six-part series, now stream- ing on Apple TV+, takes place in Victorian London and in a sea- side village plagued by rumors of a mythical beast. Newly widowed Cora has just moved to the Essex village, intrigued by the story of the serpent and ready to follow her passion to look for fossils.
Normington’s designs touched on the idea of Heaven, Hell and Earth to portray Cora’s turmoil. When the character is at her London house, red tones are a reflection of her past as viewers learn about the abuse she suffered there. “That home is her hell, and the bedroom where she was abused is the mouth of hell,” explains the production designer.
Based on the Sarah Perry novel, the six-part series, now stream- ing on Apple TV+, takes place in Victorian London and in a sea- side village plagued by rumors of a mythical beast. Newly widowed Cora has just moved to the Essex village, intrigued by the story of the serpent and ready to follow her passion to look for fossils.
Normington’s designs touched on the idea of Heaven, Hell and Earth to portray Cora’s turmoil. When the character is at her London house, red tones are a reflection of her past as viewers learn about the abuse she suffered there. “That home is her hell, and the bedroom where she was abused is the mouth of hell,” explains the production designer.
- 5/20/2022
- by Jazz Tangcay
- Variety Film + TV
The barest bones of “The Essex Serpent” make up a familiar enough story, whether taking place today or, as this new limited series does, in the late nineteenth century. An ambitious and attractive woman, seeking answers about what she should do next with her life, leaves the big city for a small town, where she meets an equally attractive man and finds that everything is more complicated than it seems. It’s a narrative with huge potential to bore, but Anna Symon’s adaptation of the Sarah Perry novel (premiering May 13 on Apple TV+) carefully layers it with more probing questions about love, loss, and faith. In its most distinctive moments, “The Essex Serpent” is far richer than skimming along its briny surface might otherwise suggest. In its weaker ones, it indulges a vein of melodrama that doesn’t quite suit it.
After her abusive husband dies, leaving her with...
After her abusive husband dies, leaving her with...
- 5/12/2022
- by Caroline Framke
- Variety Film + TV
Film follows a group of teenager girls in London.
Filming is underway on Untitled Girls Film (working title), the latest feature from Suffragette and Brick Lane director Sarah Gavron.
The film follows a lively, multi-cultural group of teenagers from a fictional girls’ state school in London.
Casting director Lucy Pardee and the producing team have put together a group of non-actors to portray the group, and the story have been developed with them.
The narrative follows 15-year-old schoolgirl Olushola Joy Omotoso, a British Nigerian girl known as ’Rox‘ to her friends. Rox’s mother leaves her and her young brother,...
Filming is underway on Untitled Girls Film (working title), the latest feature from Suffragette and Brick Lane director Sarah Gavron.
The film follows a lively, multi-cultural group of teenagers from a fictional girls’ state school in London.
Casting director Lucy Pardee and the producing team have put together a group of non-actors to portray the group, and the story have been developed with them.
The narrative follows 15-year-old schoolgirl Olushola Joy Omotoso, a British Nigerian girl known as ’Rox‘ to her friends. Rox’s mother leaves her and her young brother,...
- 8/6/2018
- by Tom Grater
- ScreenDaily
Film follows a group of teenager girls in London.
Filming is underway on Untitled Girls Film (working title), the latest feature from Suffragette and Brick Lane director Sarah Gavron.
The film follows a lively, multi-cultural group of teenagers from a fictional girls’ state school in London.
Casting director Lucy Pardee and the producing team have put together a group of non-actors to portray the group, and the story have been developed with them.
The narrative follows 15-year-old schoolgirl Olushola Joy Omotoso, a British Nigerian girl known as ’Rox‘ to her friends. Rox’s mother leaves her and her young brother,...
Filming is underway on Untitled Girls Film (working title), the latest feature from Suffragette and Brick Lane director Sarah Gavron.
The film follows a lively, multi-cultural group of teenagers from a fictional girls’ state school in London.
Casting director Lucy Pardee and the producing team have put together a group of non-actors to portray the group, and the story have been developed with them.
The narrative follows 15-year-old schoolgirl Olushola Joy Omotoso, a British Nigerian girl known as ’Rox‘ to her friends. Rox’s mother leaves her and her young brother,...
- 8/6/2018
- by Tom Grater
- ScreenDaily
Lone Scherfig’s “Their Finest” isn’t a biopic, but that doesn’t mean the World War II-set romantic drama isn’t true.
Adapted by Gabby Chiappe from Lissa Evans’ novel, “Their Finest Hour and a Half,” Scherfig’s latest period piece traces a fictionalized heroine as she changes the face of England’s propaganda-film machine in the waning days of World War II. Catrin Cole (Gemma Arterton) isn’t a big dreamer — in war-torn London, no one is — but when she’s drafted into writing feel-good scripts for the Ministry of Information, she unexpectedly finds her calling.
“There were female scriptwriters at the time, but they weren’t credited,” Scherfig said. “They did write a lot, and the character is very loosely based on one of those.”
Scherfig, known for her early Dogme features and her breakout “An Education,” saw herself in both Catrin and in the character’s new and weird professional world.
Adapted by Gabby Chiappe from Lissa Evans’ novel, “Their Finest Hour and a Half,” Scherfig’s latest period piece traces a fictionalized heroine as she changes the face of England’s propaganda-film machine in the waning days of World War II. Catrin Cole (Gemma Arterton) isn’t a big dreamer — in war-torn London, no one is — but when she’s drafted into writing feel-good scripts for the Ministry of Information, she unexpectedly finds her calling.
“There were female scriptwriters at the time, but they weren’t credited,” Scherfig said. “They did write a lot, and the character is very loosely based on one of those.”
Scherfig, known for her early Dogme features and her breakout “An Education,” saw herself in both Catrin and in the character’s new and weird professional world.
- 4/7/2017
- by Kate Erbland
- Indiewire
The European Film Academy — more than 3,000 filmmakers across Europe – voted for this year’s European Film Awards. At the 29th EFAs ceremony on Saturday in Wroclaw, Poland, in a major rebuke to the Cannes competition jury that snubbed German director Maren Ade’s three-hour father-daughter comedy “Toni Erdmann,” her country’s foreign Oscar selection took home five top awards: Best European Film, Director, Screenplay, Actor, and Actress. The awards ceremony is hosted by different countries each year.
Three Scandinavian Oscar entries: “A Man Called Ove” (Sweden), “The Happiest Day in the Life of Olli Maki” (Finland), and “Land of Mine” (Denmark) won awards, along with Oscar submissions from Italy (documentary “Fire at Sea”) and Switzerland (animated film “My Life as a Zucchini”). Andrzej Wajda, whose film “Afterimage” is Poland’s official Oscar entry, won an honorary award.
The U.S. Academy of Motion Picture Arts & Sciences members participating in the...
Three Scandinavian Oscar entries: “A Man Called Ove” (Sweden), “The Happiest Day in the Life of Olli Maki” (Finland), and “Land of Mine” (Denmark) won awards, along with Oscar submissions from Italy (documentary “Fire at Sea”) and Switzerland (animated film “My Life as a Zucchini”). Andrzej Wajda, whose film “Afterimage” is Poland’s official Oscar entry, won an honorary award.
The U.S. Academy of Motion Picture Arts & Sciences members participating in the...
- 12/11/2016
- by Anne Thompson
- Thompson on Hollywood
The European Film Academy — more than 3,000 filmmakers across Europe – voted for this year’s European Film Awards. At the 29th EFAs ceremony on Saturday in Wroclaw, Poland, in a major rebuke to the Cannes competition jury that snubbed German director Maren Ade’s three-hour father-daughter comedy “Toni Erdmann,” her country’s foreign Oscar selection took home five top awards: Best European Film, Director, Screenplay, Actor, and Actress. The awards ceremony is hosted by different countries each year.
Three Scandinavian Oscar entries: “A Man Called Ove” (Sweden), “The Happiest Day in the Life of Olli Maki” (Finland), and “Land of Mine” (Denmark) won awards, along with Oscar submissions from Italy (documentary “Fire at Sea”) and Switzerland (animated film “My Life as a Zucchini”). Andrzej Wajda, whose film “Afterimage” is Poland’s official Oscar entry, won an honorary award.
The U.S. Academy of Motion Picture Arts & Sciences members participating in the...
Three Scandinavian Oscar entries: “A Man Called Ove” (Sweden), “The Happiest Day in the Life of Olli Maki” (Finland), and “Land of Mine” (Denmark) won awards, along with Oscar submissions from Italy (documentary “Fire at Sea”) and Switzerland (animated film “My Life as a Zucchini”). Andrzej Wajda, whose film “Afterimage” is Poland’s official Oscar entry, won an honorary award.
The U.S. Academy of Motion Picture Arts & Sciences members participating in the...
- 12/11/2016
- by Anne Thompson
- Indiewire
Germany’s Oscar hopeful wins five major awards in Wroclaw at politically charged ceremony.
Toni Erdmann has been voted the best European film of 2016 at the European Film Awards in Wroclaw.
More than 3,000 members of the European Film Academy - filmmakers from across Europe - voted at this year’s awards ceremony.
Scroll down for full list of winners
The comedy also picked up awards for best European Director (Maren Ade), European Actress (Sandra Hüller), European Actor (Peter Simonischek) and European Screenwriter (Maren Ade).
The top prize for Toni Erdmann marked the first time in the EFAs’ 29-year history that the Best European Film award went to a female director as Maren Ade pointed out on accaccepting the evening’s final statuette with her partners Jonas Dornbach and Janine Jackowski of their production company Komplizen Film.
Swedish comedy drama A Man Called Ove was voted best European comedy, while there were also wins for Fire At Sea...
Toni Erdmann has been voted the best European film of 2016 at the European Film Awards in Wroclaw.
More than 3,000 members of the European Film Academy - filmmakers from across Europe - voted at this year’s awards ceremony.
Scroll down for full list of winners
The comedy also picked up awards for best European Director (Maren Ade), European Actress (Sandra Hüller), European Actor (Peter Simonischek) and European Screenwriter (Maren Ade).
The top prize for Toni Erdmann marked the first time in the EFAs’ 29-year history that the Best European Film award went to a female director as Maren Ade pointed out on accaccepting the evening’s final statuette with her partners Jonas Dornbach and Janine Jackowski of their production company Komplizen Film.
Swedish comedy drama A Man Called Ove was voted best European comedy, while there were also wins for Fire At Sea...
- 12/10/2016
- ScreenDaily
Germany’s Oscar contender wins five major awards in Wroclaw
Toni Erdmann has been voted the best European film of 2016 at the European Film Awards in Wroclaw. More than 3,000 members of the European Film Academy - filmmakers from across Europe - voted at this year’s awards ceremony.
The comedy also picked up awards for best European Director (Maren Ade), European Actress (Sandra Hüller), European Actor (Peter Simonischek) and European Screenwriter (Maren Ade).
Swedish comedy drama, A Man Called Ove, was voted best European comedy.
Scroll down for full list of winners
Meanwhile, Ken Loach’s I, Daniel Blake won the first European University Film Award (Eufa), a collaboration between the Efa and Filmfest Hamburg. Students from 13 European countries came together in Hamburg this week and selected Loach’s film from five nominated titles.
On announcing the winner in Wroclaw, Filmfest director Albert Wiederspiel revealed that the initiative had been so popular that it was likely that universities...
Toni Erdmann has been voted the best European film of 2016 at the European Film Awards in Wroclaw. More than 3,000 members of the European Film Academy - filmmakers from across Europe - voted at this year’s awards ceremony.
The comedy also picked up awards for best European Director (Maren Ade), European Actress (Sandra Hüller), European Actor (Peter Simonischek) and European Screenwriter (Maren Ade).
Swedish comedy drama, A Man Called Ove, was voted best European comedy.
Scroll down for full list of winners
Meanwhile, Ken Loach’s I, Daniel Blake won the first European University Film Award (Eufa), a collaboration between the Efa and Filmfest Hamburg. Students from 13 European countries came together in Hamburg this week and selected Loach’s film from five nominated titles.
On announcing the winner in Wroclaw, Filmfest director Albert Wiederspiel revealed that the initiative had been so popular that it was likely that universities...
- 12/10/2016
- ScreenDaily
Germany’s Oscar contender wins five major awards in Wroclaw
Toni Erdmann has been voted the best European film of 2016 at the European Film Awards in Wroclaw. More than 3,000 members of the European Film Academy - filmmakers from across Europe - voted at this year’s awards ceremony.
The comedy also picked up awards for best European Director (Maren Ade), European Actress (Sandra Hüller), European Actor (Peter Simonischek) and European Screenwriter (Maren Ade).
Swedish comedy drama, A Man Called Ove, was voted best European comedy.
Scroll down for full list of winners
Meanwhile, Ken Loach’s I, Daniel Blake won the first European University Film Award (Eufa), a collaboration between the Efa and Filmfest Hamburg. Students from 13 European countries came together in Hamburg this week and selected Loach’s film from five nominated titles.
On announcing the winner in Wroclaw, Filmfest director Albert Wiederspiel revealed that the initiative had been so popular that it was likely that universities...
Toni Erdmann has been voted the best European film of 2016 at the European Film Awards in Wroclaw. More than 3,000 members of the European Film Academy - filmmakers from across Europe - voted at this year’s awards ceremony.
The comedy also picked up awards for best European Director (Maren Ade), European Actress (Sandra Hüller), European Actor (Peter Simonischek) and European Screenwriter (Maren Ade).
Swedish comedy drama, A Man Called Ove, was voted best European comedy.
Scroll down for full list of winners
Meanwhile, Ken Loach’s I, Daniel Blake won the first European University Film Award (Eufa), a collaboration between the Efa and Filmfest Hamburg. Students from 13 European countries came together in Hamburg this week and selected Loach’s film from five nominated titles.
On announcing the winner in Wroclaw, Filmfest director Albert Wiederspiel revealed that the initiative had been so popular that it was likely that universities...
- 12/10/2016
- ScreenDaily
Keep up with the glitzy awards world with our weekly Awards Roundup column.
– The Austin Film Society has announced three 2017 honorees of the Texas Film Hall of Fame, including “Loving” director Jeff Nichols, documentary filmmaker Hector Galan and actor Tye Sheridan. Galan will be the first ever documentarian to be inducted into the Hall of Fame. The honors will be presented at the 2017 Texas Film Awards on March 9, 2017, at Austin Studios.
Read More: Tom Hanks to Receive Icon Award, Stallone Sisters Named Miss Golden Globe and More
“We have watched as the Texas film scene has grown from a small group of creative, underground filmmakers to a bonafide artist hub,” Rebecca Campbell, Austin Film Society CEO said in a statement. “These three honorees couldn’t be more representative of the Texas film scene of today, and why we are so proud of it.”
– Irwin Winkler will be honored with the...
– The Austin Film Society has announced three 2017 honorees of the Texas Film Hall of Fame, including “Loving” director Jeff Nichols, documentary filmmaker Hector Galan and actor Tye Sheridan. Galan will be the first ever documentarian to be inducted into the Hall of Fame. The honors will be presented at the 2017 Texas Film Awards on March 9, 2017, at Austin Studios.
Read More: Tom Hanks to Receive Icon Award, Stallone Sisters Named Miss Golden Globe and More
“We have watched as the Texas film scene has grown from a small group of creative, underground filmmakers to a bonafide artist hub,” Rebecca Campbell, Austin Film Society CEO said in a statement. “These three honorees couldn’t be more representative of the Texas film scene of today, and why we are so proud of it.”
– Irwin Winkler will be honored with the...
- 11/18/2016
- by Graham Winfrey
- Indiewire
Land Of Mine, Suffragette win early awards.
The first seven winners for the 29th European Film Awards - which take place on 10 December in Wroclaw, Poland - have been announced.
Martin Zandvliet’s war drama Land Of Mine leads the way with three awards.
The jury picked the winners for the cinematography, editing, design, costumes, hair and make-up, music and sound categories.
The winners are:
Cinematography: Camilla Hjelm Knudsen for Land Of MineEditing: Anne Østerud and Janus Billeskov Jansen for The CommuneDesign: Alice Normington for SuffragetteCostumes: Stefanie Bieker for Land Of MineHair and Make-Up: Barbara Kreuzer for Land Of MineMusic: Ilya Demutsky for The StudentSound: Radosław Ochnio for 11 Minutes
The seven jury members were production designer Benoît Barouh, costume designer Paco Delgado, cinematographer Martin Gschlacht, sound designer Dean Humphreys, editor Era Lapid, make-up artist Waldemar Pokromski and composer Giuliano Taviani.
Pierce Brosnan will receive the European Achievement in World Cinema award at the ceremony, which this year...
The first seven winners for the 29th European Film Awards - which take place on 10 December in Wroclaw, Poland - have been announced.
Martin Zandvliet’s war drama Land Of Mine leads the way with three awards.
The jury picked the winners for the cinematography, editing, design, costumes, hair and make-up, music and sound categories.
The winners are:
Cinematography: Camilla Hjelm Knudsen for Land Of MineEditing: Anne Østerud and Janus Billeskov Jansen for The CommuneDesign: Alice Normington for SuffragetteCostumes: Stefanie Bieker for Land Of MineHair and Make-Up: Barbara Kreuzer for Land Of MineMusic: Ilya Demutsky for The StudentSound: Radosław Ochnio for 11 Minutes
The seven jury members were production designer Benoît Barouh, costume designer Paco Delgado, cinematographer Martin Gschlacht, sound designer Dean Humphreys, editor Era Lapid, make-up artist Waldemar Pokromski and composer Giuliano Taviani.
Pierce Brosnan will receive the European Achievement in World Cinema award at the ceremony, which this year...
- 11/17/2016
- ScreenDaily
Telluride – There is a lot about “Suffragette” that shouldn’t be rare in the movie business. A film with a female director (Sarah Gavron), a female screenwriter (Abi Morgan) and two female producers (Alison Owen, Faye Ward) should be the norm and not the exception. Unfortunately, it’s not. As star Meryl Streep noted during the film’s Q&A on Saturday, in 2014 women directed just 1% of movies released by Hollywood studios. That fact, along with a recent resurgence equal rights for women in the either has made “Suffragette” something of a cause célèbre at Telluride this year. If only the actually movie was something to celebrate as well. Set in 1912, the film takes place at a key moment in British history. After 50 years of peaceful protest Suffrage societies led by the Women’s Social and Political Union (Wspu) decide only more aggressive action can spur the government to grant women the right to vote.
- 9/6/2015
- by Gregory Ellwood
- Hitfix
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