Detective Story (1951)
— Golden Globe Awards (@goldenglobes) January 8, 2018
Kirk Douglas was welcomed with a standing ovation when he was accompanied on stage by daughter-in-law, Catherine Zeta-Jones, at the Golden Globes Sunday.
The 101-year-old actor and his son Michael Douglas’ wife joined together to present the award for best screenplay for a motion picture.
Zeta-Jones began her presentation by honoring Douglas, who she called a “living Hollywood legend,” for being recognized by the
“David got inspired to make this film from a grant application video that Sasha [Wortzel] and I made and sent to Kalamazoo/Arcus Foundation social justice center while he was visiting,” Gossett wrote in a statement, shared today on Twitter by author and activist Janet Mock. “He told the people who worked there — I shit you not — that he should be the one to do this film.”
She then alleged that to make his film and secure a grant from the Sundance Institute and the Arcus Foundation, France pilfered her contacts as well as her work on advocacy group Street Transvestite Action Revolutionaries. Additionally, Gossett wrote that France convinced Vimeo to take down a video she’d uploaded of
Read More:‘You Were Never Really Here’ Review: Joaquin Phoenix Has a Death Wish In Lynne Ramsay’s Meandering Detective Story
Joaquin Phoenix plays a tormented law enforcer who saves a young girl from child trafficking. The brief Cannes synopsis reads: “A missing teenage girl. A brutal and tormented enforcer on a rescue mission. Corrupt power and vengeance unleash a storm of violence that may lead to his awakening.
Now, after a hailed novel and two feature films, “Get Shorty” becomes the latest Leonard crime story to get the series treatment, and it’s a lot closer in quality to its titular inspiration than its lesser sequel, “Be Cool.” But aside from being pretty darn good, this take goes its own way.
Anyone familiar with the 1990 book or 1995 film will certainly recognize the plot, but creator Davey Holmes’ new show isn’t doing an impression; not on any level. From the casting to the construction, this version of “Get Shorty” is its own beast. The hour-long drama may not be the next big breakout in the golden age of TV,
Stormare plays Ingmar, a broke ex-Hollywood stuntman who opens up an unusually affordable detective agency. Working out of a nondescript downtown L.A. office, one particular job brings fellow Swedish ex-pat Axel (Johan Glans) into his professional orbit. After the two narrowly escape the clutches of a particularly twisty gig, they go into business together. Operating under an agency with the same name as the show’s title, these two Swedes handle their client’s unconventional requests wherever in the city they might lead.
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Which is good news, as Season 3 of a series like this could easily fall into a more-of-the-same trap. The core principles of “Difficult People” haven’t been altered — Julie and Billy are still best friends, and still relatively disdainful of anyone outside their friendship. But, based on the five episodes screened, “Difficult People” isn’t interested in treading water this season, contributing to a richer,
When describing Rick, Bird Person put it best: “The path your father and I walked together is soaked deeply in the blood of both friend and enemy.” As goofy as “Rick and Morty” treats the adventures of this scientist at the center of these interdimensional adventures, it’s just as good about enriching his genius bona fides in different ways. It took branching out on his own, but Sunday’s episode, “Pickle Rick,” was one of the series’ best examples of untethering Rick Sanchez from all laws of nature and physics and marveling at the results.
When an elaborate turning-into-a-vegetable scheme keeps Rick from attending a family therapy session, Beth, Summer, and Morty leave the oldest member of the family in briny form, sitting on his prized workbench. From its first appearance in the Season 3 trailer, Pickle Rick has been the kind of elemental idea that “Rick and Morty” executes so well,
No part of “Twin Peaks” is predictable, but the predominant theme of “Part 13” unveiled itself in a hurry: pie.
The delicious diner desert and its perfect beverage partner have been staples of David Lynch’s series since its inception, but rarely in “The Return” have we seen such intense focus on the healing power of a good slice and a few sips.
Cooper’s (Kyle MacLachlan) fixation on cherry pie, which already saved his life once, did so again (and from the same shop). A distraught Becky (Amanda Seyfried) calls her mother, Shelly (Madchen Amick), and the mere promise of pie turns her frown upside down. Later, Norma (Peggy Lipton) meets with Walter (Grant Goodeve) about her diner franchise’s performance, and she’s told the other pies aren’t as good as her own. Norma explains why — hers are made from all-natural ingredients — to which Walter responds, “Love doesn’t always turn a profit.
Swiss and German distribution and production outfit Ascot Elite is joining forces with German outfit Jumping Horse Film to produce a series of film adaptations of author Nele Neuhaus’ family book series Elena – A Life For Horses.
German author Neuhaus’ series of six novels are aimed primarily at young girls. The books chart the adventures, travails and coming-of-age of a 13-year-old girl who grows up on an idyllic stud farm.
Writer Neuhaus is best known in Germany for her crime-thriller novels, a number of which have been adapted by Zdf for TV, and the Elena series also weave in elements of detective fiction.
Filming on volume one of the series is planned to take place in Germany in the summer of 2018.
The production team will include Ralph Dietrich, Karin Dietrich, Stephan Giger, Roger Kaufmann, Ulrich Stiehm and Frank Kaminski. The same team
There are so many remarkable things about the success of Barry Jenkins’ “Moonlight,” a Best Picture winner that was a low-budget indie, featured gay protagonists, and was directed by an African American. Yet for all of its boundary breaking, the most radical thing about “Moonlight” often goes unnoticed: Jenkins is the first major, American Academy Award-winning director whose film lineage is distinctly non-American.
Auteurs like Martin Scorsese and Francis Ford Coppola – and the generation of filmmakers who walked in their footsteps – were heavily influenced by European art cinema, but defined their careers by striking a balance between Hollywood traditions and arthouse freedoms.
This year’s winners include a number of very buzzy titles, including Chloé Zhao’s “The Rider” (which was recently picked up by Sony Pictures Classics), Claire Denis’ Juliette Binoche-starring “Let the Sunshine In” (picked up at the festival by Sundance Selects), along with Philippe Garrel’s “Lover For a Day” and Jonas Carpignano’s “A Ciambra” (which was also bought by Sundance Selects at the fest).
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The Cinéfondation and Short Films Jury headed by Cristian Mungiu and including Clotilde Hesme, Athina Rachel Tsangari, Barry Jenkins and Eric Khoo has awarded the 2017 Cinéfondation Prizes during a ceremony held in the Buñuel Theatre, followed by the screening of the winning films. The winners are:
“Paul Est Là” (“Paul Is Here”)
Directed by Valentina Maurel
The Institut National Supérieur des Arts du Spectacle (Insas), Belgium
Directed by Bahram Ark and Bahman Ark
Iranian National School of Cinema, Iran
“Deux Égarés Sont Morts” (“Two Youths Died”)
Directed by Tommaso Usberti
La Fémis, France
The Cinéfondation allocates a €15,000 grant for the first prize, €11,250 for the second and €7,500 for the third. The winner of the first prize is also guaranteed the presentation of his or her first feature film at the Cannes Film Festival.
The outlet reports that “it was one of the few projects that resulted in interest from multiple bidders. Amazon Studios, Neon and Annapurna are circled the project this week, but dropped out after bidding on the micro-indie passed $1 million.”
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When we spoke to Baker last year for an exclusive first look at the project, the filmmaker clarified the meaning of the film’s title, as our Chris O’Falt explained, “The film is not, as many believed, Sean Baker’s ‘Untitled Florida Project.’ The official title is ‘The Florida Project,’ and it
They also addressed a number of audience questions about the state of the industry and some of the films in the program. Sony Pictures Classics co-president introduced the recording with a passionate call for the value of supporting film criticism.
Listen to the full episode above.
See MoreThe 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
Screen Talk is available on iTunes.
It’s a hilariously explicit way of starting a movie, even before Ozon punctuates the moment with a match-cut to the girl’s eyeball, cementing the relationship
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