Marshall was the first woman to direct a film that grossed more than $100 million, the first woman to direct two films that grossed more than $100 million, and she was only the second woman director to see her film Oscar nominated for best picture.
“Laverne & Shirley” ran from 1976-1983 and proved an enormous success for ABC. It was the No. 3 show on television in 1975-76, No. 2 in 1976-77, and No. 1 in 1977-78 and 1978-79, spawning ancillary revenue in the form of merchandising, a record album and an animated series based on the show.
Marshall began her directing career by helming several episodes of “Laverne & Shirley.” With little experience, she
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“[Co-writer Will Beall] had this sequence where Aquaman has been apprehended by King Orm and he’s been thrown into this dungeon,” Wan said. “Like this really awful prison deep in Atlantis. He ends up starting a prison riot, where all the guards are sharks. They were shark-guards, like all shark heads, and he kills one of the shark guards and the shark starts bleeding and then that starts a feeding frenzy among all the other shark guards.
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Read More: ‘Mary Queen of Scots’ – Saoirse Ronan and Margot Robbie are both royality in this gleefully feminist drama [Review]
The Focus Features release finds the 24-year-old Irish native plays Queen Mary during the early part of her reign when she’s just returned to Scotland after the death of her first husband, King Francis II of France.
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It is that self-harm — quite graphic, arguably excessive — and the casting of a cisgender dancer in the role, that led trans critic Oliver Whitney to dub the film “a danger to the transgender community” in a recent essay. Whitney’s perspective is urgent and necessary; it was one largely left out from the critical conversation that accompanied the film’s celebrated Cannes Film Festival debut. But for Nora Monsecour, whose real-life story provided the basis of “Girl,” Whitney’s opinion was painful to hear.
“I was really offended, because people made out that Lukas [Dhont] made a film out of his cis perspective,
Winner of the first Special Palme d’Or to be awarded in the history of the Cannes Film Festival, “The Image Book,” or “Le Livre d’image,” is a provocative kaleidoscope of film and world history that concludes in an apocalyptic climax. So grand is this finale that IndieWire chief critic Eric Kohn called it “one of the most authentic endings in the filmmaker’s nearly 60-year career.”
Placing “The Image Book” in the context of Godard’s more recent work, including 2014’s 3D experiment “Goodbye to Language” and the multi-part film history essay “Histoire(s) du cinéma,” Kohn continues: “The new project speeds through classic film clips,
“I don’t want to be paying someone else’s overhead,” said Hustwit. “I can reach our core audience better than anyone else can, and I don’t have to share the profits. A lot of filmmakers have this illusion that if you sign with a distributor they’ll do all the work, and that’s just not the case.”
Instead, Hustwit serves as his own marketer and booker. He rents the theaters that play his films, and the filmmaker often shows up in person to do a Q&A following a showing.
In the case of “Rams,” Hustwit hosted some 40 events. Most of the engagements were sellouts.
“Whenever you’re doing things that are iconic, it’s always terrifying,” Smith told EW about taking on the role. “The question is always: Where was there meat left on the bone? Robin didn’t leave a lot of meat on the bone with the character… I started to feel confident that I could deliver something that was an homage to Robin Williams but was musically different. Just the flavor of the character would be different enough and unique enough that it would be in a different lane, versus trying to compete.
If this year’s Pci Film Directors Assn, showcase at Ventana Sur is anything to go by, some young Argentine filmmakers are having it both ways, creating films which straddle the fiction-reality divide, or enroll fabrication and myth to large effect. Their films, sneak peaked in brief extracts or teaser trailers at the Pci’s annual Work in Progress showcase during Ventana Sur, and underscored the diversity of Argentine filmmaking, a cause championed by Pci and its around 100 directors, and an indication of the depth of talent of Argentine filmmaking.
“7h 35” is a case in point. The feature debut of Javier Van de Couter,
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“Braguino” is a documentary feature about two feuding families living isolated in the middle of the Siberian taiga. Cogitore’s last feature film “Neither Heaven Nor Earth” opened at Cannes’s Critics Week in 2015.
Set in Casablanca, “Sofia” follows a young woman who has 24 hours to provide the identification papers of her child’s father before the authorities are alerted that she broke the law by having a child out of wedlock. The film world premiered at Cannes’s Un Certain Regard and won best screenplay.
“Cassandro the Exotico!” follows the leader of a group of gender-bending, cross-dressing wrestlers known
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