"I could feel what the audience was like in the theater. I’m sensitive to the way they felt," Mackenzie said, noting that the decision to head back into the editing room "was entirely my decision." The film—which follows the Scottish King
"We have paparazzi all over our set, at every turn. And it bums me out that they constantly put out their bad shots," bemoaned Phillips on Instagram. "So I figure, may as well put out some good ones."
The Deadpool 2 star will play Sophie Dumond, a single mother struggling to make ends meet in Gotham City. And by the looks of Beetz in Phillips’ picture, the struggle is clear, with Sophie gripping the collar of her mutely-colored sweater while sporting unkempt hair and a distant, downtrodden gaze.
No, you're not dreaming. Old Freddy has come a long way since the extra crispy child-murderer first popped up in Wes Craven's A Nightmare on Elm Street in 1984. Englund reprised the role over seven more movies, finally hanging up the claws for good — or so he said — after 2003's monster-mashup Freddy vs. Jason.
As a packed, emotional house discovered at the Tribeca screening of the show’s upcoming Kenya episode — the twelfth and final season premiere featuring "United Shades of America" host W. Kamau Bell — Bourdain wanted to emphasize a point that has sometimes gotten lost in his work. “I do my best,” he said of his exploratory travel around the world. “I look, I listen. But in the end, I know it’s my story. Not Kamau’s, not Kenya’s. Those stories have yet to be heard.”
The coda, which airs after the credits on the episode, is one that not even his producers quite understood when Bourdain wrote it. “We didn’t have any idea what he was talking about,” said director Morgan Fallon, with a small laugh. But after Bourdain died, they revisited the tape and “it was almost uncanny.” (This episode marks the last time that Bourdain’s narration will be featured on the show.)
Unspooling in San Sebastián’s New Directors showcase before a home-turf premiere in Zurich,
The selection was made by the Federation of Motion Film Producers of Hong and announced on Monday.
A violent propaganda film in which the Chinese navy is mobilized to save a Chinese national held hostage in an unspecified African country, the film was directed on a $70 million budget by Hong Kong’s Dante Lam, credited on the picture as Lin Chaoxin.
The film was the come from behind hit of the crowded Chinese New Year period in February. It opened in third place with $72 million in its opening weekend, behind “Monster Hunt 2” and “Detective Chinatown 2.” But it went on to overtake both of them and score $576 million, the second highest figure ever achieved by a Chinese-language film.
San Sebastian Festival director José Luis Rebordinos made the commitment in the presence of Spanish deputy prime minister Carmen Calvo; the minister of culture and sport, José Guirao; the president of the festival’s board of directors and mayor of San Sebastian, Eneko Goi; and the president of Spain’s Assn. of Women Cineastes (Cima).
Speaking at a press conference, Rebordinos pointed out that in some executive areas, women’s presence is higher than men’s. The fest permanent staff is made up 82% of women; four of its seven board members are female, he noted.
In a recent statement, the fest announced that next year its film selection committee, currently five men and four women, will have a fifth female member,
Other recipients of the award this year are British actress Judy Dench and Japanese writer, director and producer Hirokazu Kore-eda.
For DeVito, it was his first trip to the Spanish coastal city, one he said he was thrilled to make.
“This is such an honor. You guys are really famous all over the world and it’s a real honor to receive (the Donostia award),” he said to kick off his press conference ahead of the award ceremony, scoring points with the scores of local journalists who packed the press hall.
His first anecdote on the day recalled a time in the early ‘90s when he read the script
Ash Mayfair’s debut feature, “The Third Wife” is the 19th century tale of May, a girl of just 14 years old who is married off as the third wife of a wealthy land owner. Although just a child, May quickly realizes that her place in her new life can be elevated if she is able to bare a male child for her husband. On her journey, May comes to a stark realization; that the choices available to her are meager and scarce.
The film’s European premiere will be on Wednesday Sept 24 in San Sebastian before heading to Busan for its Asian premiere the first week of October. Having previously sold to the U.
In 1998, Kore-eda arrived in San Sebastian a promising young upstart with his second feature, the bittersweet mortality drama “After Life,” playing in competition. A critical and audience favorite here, “After Life” helped cement the Japanese director’s reputation as one of the leading international auteurs.
Two decades later, the director returned celebrating another series of milestones, while his career was at another point of inflection. For one, Kore-eda’s stock has never been higher. This past March, his film “The Third Murder” swept the Japan Academy Prizes, taking home top honors in picture, director, screenplay and acting. Two months later, Kore-eda won the Palme d’Or for “Shoplifters,” becoming only the fourth Japanese filmmaker to win at Cannes.
The narrative vignettes stands metaphor for Egor, the film’s protagonist, a 20something vet who lives at the farmsted’s outhouse and is in desperate need of a controlled environment with no complications after a past history of violent confrontation with his mother, whose funeral he refuses to attend.
When Belta, one of the dogs, is mauled by other dogs, he tends for her like his child. He’s hugely patient with Ivan, the attention-seeking young grandson of the farm owner. But it seems only a question of time and circumstance for his tight-wound violence to explode again.
The new venture, which was announced at the El Gouna Film Festival in Egypt, will be based in Dubai and aimed at serving the Middle East and North Africa, providing services to the film industry, alongside TV, music, arts and live event sectors.
NearEast hopes to support Arab cinema by helping regional filmmakers secure financing, build connections with industry professionals and assist with publicity to give local titles a global audience. The ...
Directed by Hong Kong helmer Dante Lam, Operation Red Sea leapt to the top of the Chinese box office when it opened in February 2018 to become the second highest grossing film of all time in China with $579.2 million. It faced a decidedly lukewarm reception in Hong Kong, though, and saw a disproportionately weaker performance of taking only $1.1 million in the special ...
Here are five takeaways from Recalde’s talk:
1. There’S No Success Like Success
Creative Europe’s Media Program, which funds E.U. film-tv-vidgame development, distribution, training and promotion, and production in the case of TV, would take the lion’s share of the new program, with a proposed €1.081 billion. One leitmotif runs through several key proposals: rewarding movie and shows’ success – for example, with a success bonus for movies and TV shows able to attract substantial audiences internationally.
The move is sure to make waves with a long litany of potential producer partners, conjoining the talents of two of Latin America’s foremost genre pioneers with a movie which sparked some travel reviews and boasts the tonal shifts and social underbelly of much modern genre movies.
Directed by Israel’s Aharon Keshales and Navot Papushado, produced by United Channels Movies (Ucm) and inspired in part, its directors maintained, by the movies of Tarantino himself and the Coen brothers, “Big Bad Wolves” turns on a vigilante cop out to snare the author of a series of brutal murders, a kind of
In the latest move, announced Sunday at San Sebastian as the festival, the biggest in the Spanish-speaking world, signed a gender parity charter, Latido Films has acquired international rights to films by two first-time Latin American women filmmakers: Camila Urrutia’s “Polvora en el corazón,” and “La Casa de los Conejos,” from Valeria Selinger.
That’s not charity. Rather, it reflects Latido’s conviction there’s really a market for movies by striking new women directors, following on what it describes as “a string of successes,” headed by Chilean Pepa San Martín’s “Rara” and Colombian Laura Mora’s “Killing Jesús.”
“We do not look at the gender of a talented director, we look for talent,” said Latido director Antonio Saura.
But it’s no coincidence,
The aforementioned burning boy survives the gory attack that opens the film
The PS4 was released at the end of 2013 and would normally be expected to be coming to the end of its lifecycle; but it continues to beat expectations and Sony is betting there is more to come with a big line-up at Asia's biggest gaming event, which finished Sunday.
"Compared to other consoles, the peak of sales was later, coming in 2016. We ...
Directed by Jahmil X.T. Qubeka, Sew the Winter to My Skin is a Western-style epic centered on John Kepe, a legendary outlaw who achieved folk hero status in pre-apartheid South Africa.
"Qubeka's largely wordless, diffuse, time-scrambled narrative feels willfully confusing at first, but it rewards patient viewers with its sensory riches and hypnotic rhythms," The Hollywood Reporter wrote in its review. "The effect is somewhat reminiscent of Terrence Malick's latterday oeuvre,...
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