Fresh off the New York Film Festival, Sean Baker’s acclaimed “The Florida Project” (A24) sprinted ahead of the over-crowded fall specialty pack, as some 35 titles launched in limited runs this weekend. Backed by some of the best reviews of the year, the Cannes pickup marks Baker’s breakout following succès d’estime “Tangerine.”
“Victoria & Abdul” (Focus) is setting the early pace for this awards season’s contenders, with Judi Dench showing yet again her strength as a draw.
Most other openings appealed to niche audiences, with several documentaries competing to get review attention that might position them for later awards consideration. While another Nyff title, Agnes Varda and J.R.’s “Faces, Places” (Cohen), nabbed the best reviews, none did more than modest business.
Opening
The Florida Project (A24) – Metacritic: 94; Festivals include: Cannes, Toronto, New York 2017
$152,622 in 4 theaters; PTA (per theater average): $38,156
Sean Baker’s sixth feature follows his...
“Victoria & Abdul” (Focus) is setting the early pace for this awards season’s contenders, with Judi Dench showing yet again her strength as a draw.
Most other openings appealed to niche audiences, with several documentaries competing to get review attention that might position them for later awards consideration. While another Nyff title, Agnes Varda and J.R.’s “Faces, Places” (Cohen), nabbed the best reviews, none did more than modest business.
Opening
The Florida Project (A24) – Metacritic: 94; Festivals include: Cannes, Toronto, New York 2017
$152,622 in 4 theaters; PTA (per theater average): $38,156
Sean Baker’s sixth feature follows his...
- 10/8/2017
- by Tom Brueggemann
- Indiewire
Many people associate the first stirrings of the French New Wave with the chic formalism of Jean-Luc Godard and the whimsical storytelling of Francois Truffaut, but Agnes Varda got there first. The seminal member of the New Wave’s “Left Bank” made her feature-length debut with 1955’s “La Pointe Courte,” the freewheeling portrait of a small fishing village far from the city life. That was four years before Truffaut’s “The 400 Blows” and Godard’s “Breathless.” Truffaut died decades ago, and Godard’s films have grown increasingly abstract, but Varda has never strayed from the focus that put her on the map — humanitarian stories about France’s working class.
At 89, Varda remains more fixated on that theme, so much that she committed what may be her final film to that focus. “Faces Places” marks the latest of her playful non-fiction efforts, in which she stars as the inquisitive centerpiece...
At 89, Varda remains more fixated on that theme, so much that she committed what may be her final film to that focus. “Faces Places” marks the latest of her playful non-fiction efforts, in which she stars as the inquisitive centerpiece...
- 10/5/2017
- by Eric Kohn
- Indiewire
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.