The Day After (1983) - News Poster

(1983 TV Movie)


29 Indies and Festival Favorites You Can’t Miss This Summer Season

  • Indiewire
This week, IndieWire will be rolling out our annual Summer Preview, including offerings that span genres, niche offerings for dedicated fans, a closer look at festival favorites finally headed to a theater near you, and plenty of special attention to all the new movies you need to get through a jam-packed summer movie-going season. Check back throughout the week for a new look at the best the season has to offer, and clear your schedule, because we’re going to fill it right up.

Today — 29 indie standouts and festival favorites bound for a big screen near you.

“Tully,” May 4

A very different kind of adult fairy tale (one that frequently doubles as a feature-length advertisement for tubal ligation), “Tully” is a fantasy of the highest order; it might look like an episode of “This Is Us,” but this story is every bit as magical as “The Shape of Water.” Think
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40 Films to See This Summer

The summer movie season is upon us, which means a seemingly endless pile-up of superheroes, reboots, and sequels will crowd the multiplexes. While a very select few show some promise, we’ve set out to highlight a vast range of titles–40 in total–that will arrive over the next four months, many of which we’ve already given our stamp of approval.

There’s bound to be more late-summer announcements in the coming months, and a number of titles will arrive on VOD day-and-date, so follow us on Twitter for the latest updates. In the meantime, see our top 40 picks for what to watch this summer below, in chronological order, and let us know what you’re looking forward to most in the comments.

Manhunt (John Woo; May 4)

John Woo’s return to the genre that made his career isn’t so much of a comeback as it is watching
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Beijing Festival Sends out Mixed Messages

Beijing Festival Sends out Mixed Messages
The eighth edition of the Beijing International Film Festival gets under way Sunday night. A spectacular ceremony, some 25 miles away from downtown Beijing will kick off a week of cinema-related celebrations that look little like any other major film festival.

That the opening ceremony is not followed by a film screening is one indicator. The deeply uneven film selection policy is another.

Baffling many in the industry, the festival lineup boasts both notable exclusions, and perplexing inclusions. A decision earlier this month to exclude the previously announced “Call Me By Your Name” was shock enough to produce a few ripples in the normally tightly-controlled Chinese Internet. And it further underlines the increasingly hard line being taken by Chinese regulators against Lgbt content.
See full article at Variety - Film News »

Documentary ‘Bamseom Pirates’ Wins Korea’s Wildflower Awards

Documentary ‘Bamseom Pirates’ Wins Korea’s Wildflower Awards
Jung Yoon-suk’s documentary, “Bamseom Pirates Seoul Inferno” was named Grand Prize winner at South Korea’s Wildflower Awards on Thursday (Apr. 12). The film cast light on a college punk duo and their struggles with government censorship. “Bamseom Pirates” is the first documentary to win Grand Prize.

Hong Sang-soo won best narrative film director for “The Day After,” which competed at Cannes Film Festival in 2017. The best documentary director award went to Moon Chang-yong and Jeon Jin for “Becoming Who I Was.”

The numerical winner was “Jane,” which scooped four trophies. The queer drama won the best actress award for Lee Min-ji; best screenplay for Cho Hyun-hoon and Kim So-mi; best cinematography for Cho Young-jik; and best score for Flash Flood Darlings.

Veteran, Key Joo-bong won the best actor prize for his role in “Merry Christmas Mr. Mo,” which also earned Lim Dae-hyeong the best new narrative film director award.
See full article at Variety - Film News »

Interview: ‘Welcome to Essex’ writer/director Ryan J. Fleming

Welcome to Essex is a new zombie horror film from writer-director Ryan J Fleming which will have its UK premier at The Romford Film Festival on Thursday 24th May. I got a chance to ask Ryan a few questions about what we can expect from the film, his influences for the look and style of the film and organising a horde of over 1500 zombie extras to run through Brentwood High Street.

Welcome to Essex is a new horror film which you wrote and directed. Why did you decide to make a Zombie film?

I’ve always been a film fan of every genre (apart from Westerns & musicals – not so into those), and I fancied having a stab at making one myself. The real-world situation aligned itself so that I could have a go, so I knuckled down to write something. Being a huge fan of apocalyptic fiction, I initially wanted
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Cinema Guild Buys ‘En el Séptimo Día,’ Drama About Undocumented Immigrants (Exclusive)

Cinema Guild Buys ‘En el Séptimo Día,’ Drama About Undocumented Immigrants (Exclusive)
Cinema Guild has acquired “En el Séptimo Día,” Jim McKay’s acclaimed examination of the lives of undocumented Mexican immigrants. The title translates to “On the Seventh Day” and is a reference to the punishing hours its central characters work as dishwashers, deli workers, and cotton candy vendors. After laboring for six days, they have a day of rest on Sundays — it is a reprieve spent on the soccer fields of Sunset Park, Brooklyn.

“En el Séptimo Día” will open in New York on June 8 at IFC Center and Brooklyn Academy of Music’s Rose Cinemas. It’s McKay’s fifth feature after a 13-year absence from the big screen. His other credits include “Our Song” and “Girls Town,” and McKay has used his hiatus working on television shows such as “The Wire” and “The Good Wife.”

The film premiered as the centerpiece selection at BAMcinemaFest 2017 and made its overseas
See full article at Variety - Film News »

Review: Claire's Camera, A Perfunctory Blip

Love him or hate him, Hong Sangsoo has been remarkably consistent with his films, which both offer viewers a familiar framework and new variations on his favorite themes. His 20th work Claire's Camera debuted last year at the Cannes Film Festival, after shooting at the festival the previous year. The brief (68 minutes) film reunites him with his In Another Country (2012) star Isabelle Huppert and muse Kim Min-hee for the third time (a fourth collaboration, The Day After, also premiered at Cannes in 2017). Kim Min-hee plays an employee of a Korean film sales agent who is suddenly fired by her boss for unclear reasons during the market at the Cannes Film Festival. Meanwhile Huppert plays a Parisian artist who walks around town taking...

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See full article at Screen Anarchy »

Review: The Way I See It—Hong Sang-soo’s "Claire’s Camera"

  • MUBI
Last year saw the premiere of not one but three Hong Sang-soo films—the gently oneiric On the Beach at Night Alone, the anguished black-and-white The Day After, and the airy 79-minute Claire’s Camera. All feature muse Kim Min-hee (now seemingly, welcomingly forever a fixture in Hong’s work). In Beach, she’s quietly recovering from an affair with a filmmaker first in Hamburg, then in her sleepy Korean hometown. In The Day After, she’s innocently caught in the middle of her book publisher boss’ sexual dalliance, so much so that his wife mistakes her for his mistress. And in Claire’s Camera, she plays yet another character enmeshed in the intimacies of friends and associates. Although this observation virtually applies to every filmmaker, it is more so with Hong: with each and every film in his continually expanding oeuvre, Hong’s aesthetic alters, now becoming more forthrightly
See full article at MUBI »

‘Grass’ Review: Hong Sang-soo’s First Movie of 2018 Is a Beguiling 66-Minute Charmer for Hardcore Fans Only — Berlinale 2018

  • Indiewire
Another festival, another film by Hong Sang-soo. It’s always been hard to talk about the South Korean auteur without talking about the Fassbinder-like frequency with which he churns out new work, and it’s only becoming harder now that he’s really started to pick up the pace; good luck finding a single review of Hong’s recent features that doesn’t start by referencing his prolificacy. But as much as we encourage you to spare a thought for the poor critics who are forced to write 1,000 words about this guy every time he decides to pick up a camera, that phenomenon may be less indicative of lazy journalism than it seems. “Grass” — Hong’s first movie of 2018, and his fourth in the last 12 months — goes so far as to suggest that his prolificacy might be a crucial part of his cinema, as well as an indispensably helpful lens
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Blu-ray Review: Threads (1984)

A whimper or a bang. Does it really matter if we snuff the match with our fingers, or a blast of air from our lungs? And when that bomb drops, is that really it for the human race, or will it “rebuild” as we’re so optimistically told in countless disaster flicks? The correct answers are: “bang” is very bad, and if your idea of “rebuild” is devastating nuclear winters and forlorn dirt crops, build away. This bleaker than bleak view comes courtesy of a legendary and sobering BBC Two TV drama from 1984 called Threads, and Severin Films’ stellar Blu-ray shows a new generation what would really happen in the event of a nuclear attack. Spoiler slert: nothing good. At all.

Directed by Mick Jackson (L.A. Story) from a teleplay by Barry Hines (Kes), Threads aired in September of 1984, pulling in 7 million viewers on its initial showing with a
See full article at DailyDead »

Berlin Film Review: ‘Grass’

Berlin Film Review: ‘Grass’
There aren’t many filmmakers who can outmatch South Korean director Hong Sangsoo’s current form for sheer productivity. In fact it’s perhaps only Japan’s Takashi Miike who can legitimately glance at Hong’s filmography for the past decade and think “slacker.” “Grass” is Hong’s 15th film in 10 years (not counting shorts and documentaries), and it is his fourth festival premiere of the last 12 months. It is, however, just 63 minutes long, and, considering that it clocks in six minutes shy of his 2017 Cannes bauble “Claire’s Camera,” and three minutes shorter than 2014’s terminally slight “Hill of Freedom,” we could be forgiven for expecting a doodle.

The surprise, then, is that without reinventing the Hong wheel even a little bit, the black-and-white “Grass” is a deceptively potent entry in the canon, a thimbleful of purest, concentrated Hong-brand soju. It may be yet another series of two-way or three-way conversations, that take place
See full article at Variety - Film News »

‘Grass’ Trailer: Step Into A Cafe With Hong Sang-soo & Kim Min-hee

It’s probably best not to try and keep up with the prolific out of Hong Sang-soo, but just prepare yourself for each picture as it arrives. The director’s latest, “Grass,” is set to make its World Premiere at the Berlin International Film Festival which kicks off today, and it looks like another gem from the filmmaker.

Reteaming with Kim Min-hee (“On A Beach Alone At Night,” “Claire’s Camera,” “The Day After,” “Right Now, Wrong Then“) the story takes inside a café where multiple dramas unfold before our eyes.
See full article at The Playlist »


Hey kids! Learn about the great time we’ll be having if the world powers plunge us into a nuclear winter! This post-atomic horror show traumatized England in 1984, and thanks to the liberal media magnate Ted Turner, even saw some airings in the U.S.. The most extreme prime-time response to Ronald Reagan’s heating up of the Cold War standoff, it remains an honest look at a possible grim future, that rubs our noses in the full consequences of a nuclear exchange.



1984 / Color / 1:33 flat 16mm /

117 (112) min. / Street Date February 13, 2018 / 19.99

Starring: Karen Meagher, Reece Dinsdale, David Brierley, Rita May, Nicholas Lane, Jane Hazelgrove, Henry Moxon, June Broughton, Harry Beety, Ruth Holden, Patrick Allen (voice).

Cinematography: Andrew Dunn, Paul Morris

Film Editors: Donna Bickerstaff, Jim Latham

Visual Effects: Graham Brown, Peter Wragg

Written by Barry Hines

Produced and Directed by Mick Jackson

1965’s The War Game by Peter Watkins
See full article at Trailers from Hell »

Short Teaser Trailer for Hong Sang-soo's 'Grass' Playing at Berlinale

"Even with a dead friend beside you, you don't think of your own death." The first teaser trailer has arrived for the latest film made by prominent Korean filmmaker Hong Sang-soo, a feature titled Grass, which will be premiering at the Berlin Film Festival later this month. This is Hong Sang-soo's fourth feature film in two years time - following On the Beach at Night Alone, which premiered at last year's Berlin Film Festival, as well as The Day After and Claire's Camera. It's hard to keep up with all of his new films he keeps making them one right after another. Grass is about a young woman, played by award-winning actress Kim Min-hee, who sits at a cafe in the corner writing on her laptop about the people she sees around here. There's not much to this teaser, just setting up this idea of her sitting & writing, as well
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Full Line-up Announced for 41st Annual Portland International Film Festival

Earlier today the folks at the Northwest Film Center announced the full line-up for this year’s Portland International Film Festival, and have published a Pdf for all to read online. The printed copies will be making their way around town this week.

The Northwest Film Center is proud to reveal the 41st Portland International Film Festival (Piff 41) lineup. This year’s Festival begins on Thursday, February 15th and runs through Thursday, March 1st. Our Opening Night selection is the new comedy The Death of Stalin from writer/director Armando Iannucci (Veep, In the Loop). The film, adapted from the graphic novel by Fabien Nury, stars Steve Buscemi, Olga Kurylenko, Jason Isaacs, and Michael Palin. The Death of Stalin will screen simultaneously on Opening Night at the Whitsell Auditorium, located in the Portland Art Museum (1219 Sw Park Ave) and on two screens at Regal Fox Tower 10 (846 Sw Park Ave).

See full article at CriterionCast »

'Legend Of The Demon Cat' leads Asian Film Awards nominations

Angels Wear White, Youth and The Third Murder also score multiple nods.

Source: 21st Century Shengkai Film

‘Legend Of The Demon Cat’

Chen Kaige’s lavish period drama Legend Of The Demon Cat racked up the most nominations for this year’s Asian Film Awards, with six nods in all, including best director.

The co-production between Hong Kong, China and Japan was also nominated for best supporting actress (Kitty Zhang Yuqi), cinematography, costume design, production design and visual effects. However, the film wasn’t nominated in the best film category.

Three films scored five nods apiece and were all nominated for best film – Vivian Qu’s Angels Wear White and Feng Xiaogang’s Youth, both from mainland China, and Japanese filmmaker Hirokazu Kore-eda’s The Third Murder.

Rounding out the best film category are Newton from Indian filmmaker Amit V. Masurkar and The Day After from South Korea’s Hong Sangsoo, which both racked
See full article at ScreenDaily »

‘Demon Cat’ Leads Chinese-Dominated Asian Film Awards Nominations

Nominations for the 12th edition of the Asian Film Awards were dominated by Chinese-language films. “The Legend of the Demon Cat” narrowly led the field with nominations in six categories.

A larger-than-life historical fantasy that was released shortly before Christmas, “Demon Cat” was shut out of the best picture category but earned Chen Kaige a best director nomination. The nominations were announced Thursday in Hong Kong.

The prizes will be decided by a jury headed by veteran action director and stunt coordinator Tony Ching Siu-tung. They will be presented at a ceremony at the Venetian Hotel in Macau on March 17, two days before the beginning of the FilMart convention and the Hong Kong Film Festival.

Four films garnered five nominations each. “Angels Wear White,” a topical drama on sexual abuse, will compete for best picture and earned Vivian Qu a nomination for best new director. Mainland Chinese veteran Feng Xiaogang earned a best director nomination and saw
See full article at Variety - Film News »

The Day After: One Last Glance at the Emmys

Post-show photos of Emmy host Neil Patrick Harris, courtesy of Wire Image

Neil Patrick Harris’s Emmy conquest is now official: The overnight Nielsens indicate that the ratings were actually up over last year’s telecast. That’s significant, because the award show’s numbers have been in decline for several years now.

Barney Stinson’s alter-ego did not defeat football on NBC, which walked away with 18.5 million that night, but an estimated 14.5 million tuned in to the 61st Primetime Emmy Awards telecast, keeping it in second place throughout the evening. (Which, truthfully, isn’t that surprising when one considers that every other broadcast network pretty much got out of its way.)

Of course, a number of viewers would never watch the Emmys — even if Angelina Jolie played host and promised…
See full article at IMDb Television Blog »

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