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‘Wonder Woman’ Sends Indie Box Office Straight to Hades

‘Wonder Woman’ Sends Indie Box Office Straight to Hades
Wonder Woman” captured the weekend zeitgeist with reviews as good as any new adult-appeal specialized opener — and gobbled up potential audience. But that’s not the sole reason the specialty box office went to hell this weekend.

“Churchill” (Cohen), with the pedigree of an arthouse crossover winner, went nationally in top theaters but failed to capture more than desultory business. A trio of niche releases showed some mid-level interest in New York and Los Angeles — “The Exception”(A24), “Letters from Baghdad” (Vitagraph), and “Band Aid”(IFC) — but none looks likely to cross over beyond the big-city arthouse market.

The scariest weekend news: the total lack of response to Ken Loach’s Cannes 2016 Palme d’Or-winner “I, Daniel Blake.” While it’s been a long wait after a year-end qualifying run, it’s shocking that the well-reviewed BAFTA-winner met with near total disinterest.

Last weekend’s top opener “Long Strange Trip
See full article at Indiewire »

Terence Davies Makes Brilliant Movies But Lives a Lonely Life: ‘I’m Terrified of the World’

Terence Davies Makes Brilliant Movies But Lives a Lonely Life: ‘I’m Terrified of the World’
Terence Davies is at once both monolithic and anonymous. A critically revered British filmmaker whose work has yet to catch on with general audiences (perhaps, in part, because his films are so crushingly intimate that it almost feels inappropriate to watch them in public), he’s seldom recognized on the street, and sometimes that might be for the best.

“The other day I was feeling low,” he said, “and I just thought: ‘Why am I making films that, like, three people or a dog go and see?’ I know this is feeble, but it really is killing when someone says ‘What do you do?’ ‘Oh, I make films.’ ‘Well, would I have seen some of them? Would I have heard of you?’ And I say: ‘Well, probably not.’”

Of course, some of our greatest artists are tremendously under-appreciated in their own time, though they may be the only ones who
See full article at Indiewire »

‘The Lost City of Z’ and ‘Norman’ Ride Specialty Box Office Surge

‘The Lost City of Z’ and ‘Norman’ Ride Specialty Box Office Surge
The slow specialty box office is picking up. “The Lost City of Z” (Bleecker Street) opened just below the numbers posted last week by “Colossal” (Neon) and “Norman: The Moderate Rise and Tragic Fall of a New York Fixer” (Sony Pictures Classics) also opened to over $20,000. And “Chasing Trane: The John Coltrane Documentary” (Abramorama) showed strong initial single-theater results, with Emily Dickinson story “A Quiet Passion” (Music Box) also showing some interest.

After a promising start, “Colossal” expanded quickly, showing strength among wider audiences, along with “Gifted” (Fox Searchlight) and “Their Finest” (Stx). And holocaust drama “The Zookeeper’s Wife” (Focus) passed the $10 million mark in only its third weekend.

Festival favorite “Maudie,” a Canadian-Irish coproduction set in a small Nova Scotia town, opened in four Canadian theaters ahead of its June stateside release from Sony Classics Pictures, with a three day total of around $60,000. It stars Sally Hawkins and
See full article at Indiewire »

'A Quiet Passion' Review: Cynthia Nixon Shines as Emily Dickinson

'A Quiet Passion' Review: Cynthia Nixon Shines as Emily Dickinson
The Furious 8 crowd is advised to run for the hills. Terence Davies is a poet of cinema, of images, sounds and rhythms that define a life. Davies films move at a pace demanded by the material, not fidgety audiences. His remarkable debut features – 1988's Distant Voices, Still Lives and 1992's The Long Day Closes – are drawn from his own growing up experiences as the youngest of 10 children in a working-class Catholic family in Liverpool. To deal with an abusive father, he escaped into music and movies.

Just one reason that
See full article at Rolling Stone »

Joshua Reviews Terence Davies’ A Quiet Passion [Piff 2017 Review]

Terence Davies is apparently finding having the “moment” he’s been rightly deserving for almost thirty years.

After having a quiet period from The House of Mirth in 2000 to his underrated documentary Of Time And The City in 2008, Davies has given us three new films in the subsequent nine years, including two that are arriving in theaters damn near one year apart. Sunset Song arrived to grandiose notices (including a rave by your’s truly) in the first half of 2016, and thankfully the director has returned with a film that’s arguably one of his best yet.

Entitled A Quiet Passion Davies jumps from the fictional world created by author Lewis Grassic Gibbon that was Sunset Song and into the real world of legendary scribe Emily Dickinson. Cynthia Nixon stars as the beloved 19th-century poet, as we see her go from teenage religious skeptic to something far less bright eyed and bushy tailed,
See full article at CriterionCast »

Feeling as others do, part 2 by Anne-Katrin Titze

Terence Davies to Catherine Marchand: "I don't want them to look as though they'd just come from costume." Photo: Anne-Katrin Titze

Terence Davies, the esteemed director of The House Of Mirth; Distant Voices, Still Lives; The Deep Blue Sea; The Long Day Closes, and Sunset Song spoke with me on the costume designs by Catherine Marchand for his latest film A Quiet Passion, starring Cynthia Nixon as Emily Dickinson with Jennifer Ehle as her sister Vinnie. Catherine Bailey, Keith Carradine, Duncan Duff, Joanna Bacon, Benjamin Wainwright, Sara Vertongen, Emma Bell, Jodhi May, and Noémie Schellens head a dandy supporting cast.

Hearing Claire Bloom read Dickinson, kidney disease, and Jean-Pierre Léaud in Albert Serra's The Death Of Louis Xiv come up in the second part of a series on my journey with Terence Davies.

Cynthia Nixon plays the scenes of the attacks beautifully. Photo: Anne-Katrin Titze

Anne-Katrin Titze: A word about the costumes.
See full article at eyeforfilm.co.uk »

The Greatest Ghost Stories Ever Written

In time for Halloween, Sean Wilson takes a look at some of the most delightfully ghoulish and flesh-creeping stories ever put to paper.

The Turn of the Screw

Author Henry James described his own sensational chiller as a ‘pot-boiler’ but it’s clearly so much more than that. A deeply unnerving tale of a young governess who suspects her wards are under the influence of malign spirits, it’s a creepy classic that muddies the waters between spine-tingling spook story and frightening psychological drama, exerting a massive influence over every subsequent entry in the genre. In 1961 it received a timeless adaptation The Innocents, directed by Jack Clayton, scripted by Truman Capote and starring Deborah Kerr.

The Woman in Black

Not just a mainstay of English literature courses but one of the most genuinely frightening stories ever written, Susan Hill’s hair-raising tale of supernatural menace is infinitely superior to its long-running stage spin-off,
See full article at Flickeringmyth »

Six selected for Indian film-makers residency

  • ScreenDaily
Six selected for Indian film-makers residency
The film-makers will each receive an expert mentor to help develop their feature projects.

Dubai International Film Festival (Diff) is partnering with the Pjlf Three Rivers Residency, designed to support Indian film-makers in developing their scripts. The residency provides six writer-directors a year with a distraction-free space to write their scripts, the help of an expert mentor and the opportunity to present their projects at Diff.

The six filmmakers selected this year include Kanu Behl [pictured], whose debut Titli screened at Cannes Un Certain Regard in 2014, Arun Karthick, who debuted with Rotterdam title The Strange Case Of Shiva, Raj Rishi More, who served as assistant director on The Lunchbox, Miransha Naik, Sonal Jain and Pushan Kripalani. Naik recently completed post-production on Juze, which has been picked up by Films Boutique and secured a French release through Sophie Dulac Distribution.

This year’s advisers include Molly Stensgaard, Franz Rodenkirchen, Marten Rabarts, Gyula Gazdag and Olivia Stewart, who has developed
See full article at ScreenDaily »

‘A Quiet Passion’ Trailer: Cynthia Nixon Embodies Reclusive Emily Dickinson In Terence Davies-Directed Biopic

‘A Quiet Passion’ Trailer: Cynthia Nixon Embodies Reclusive Emily Dickinson In Terence Davies-Directed Biopic
The story of the reclusive American poet Emily Dickinson comes to life in Terence Davies’ “A Quiet Passion,” which will be screened at the Toronto International Film Festival this fall.

A new festival trailer for the period drama was just released and showcases Cynthia Nixon as the renowned artist as she struggles with the world around her.

A Quiet Passion” is a unique insight into Dickinson’s life and obsessions, and follows the writer from her schoolgirl days in Amherst, Massachusetts to her years writing in near-total isolation, where she produced over a thousand poems that are now regarded as the finest and most inventive in American literature.

Read More: First Look: Cynthia Nixon as Emily Dickinson in Terence Davies’ ‘A Quiet Passion

The biopic also co-stars Jennifer Ehle as Dickinson’s sister, Lavinia, Keith Carradine as her father, Duncan Duff, Jodhi May, Joanna Bacon and Catherine Bailey. The picture
See full article at Indiewire »

NYC Weekend Watch: Robert Downey Sr., Anna Mangani, ‘Black Girl’ & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Film Forum

The amazing films of Robert Downey Sr. play as part of “Robert Downey (The Original).” The still-shocking Putney Swope screens throughout this weekend; Greaser’s Palace can be seen on Saturday and Sunday, while the latter day offers a print of Chafed Elbows.

The restoration of Fritz Lang‘s Destiny begins its run.

The King and the Mockingbird
See full article at The Film Stage »

Sunset Song Review

Like his past work, Terence DaviesSunset Song sets aglow dusty memories of the past, telling a feminist story of domestic liberation that’s mythological in theme and scale despite taking place in a lonely homestead on the outskirts of rural Scotland in the early 20th century. No one does period drama quite like Davies, and his latest effort is just as transportive and lyrical as his previous work, though the story develops in a sort of inelegant, stilted way that doesn’t pay the strong-willed heroine at its center due justice.

The beating heart of the tale is a peasant farm girl, Chris Guthrie (Agyness Deyn), tender as can be and wise beyond her years. Her strength of spirit and nurturing nature stem from a horrific upbringing under her emotionally and physically abusive father (a heart-stoppingly terrifying Peter Mullan). We watch years pass at the Guthrie home, Blawearie, as
See full article at We Got This Covered »

Joshua Reviews Terence Davies’ Sunset Song [Theatrical Review]

Despite being one of the most beloved art film directors of the last 30+ years, it’s a shockingly rare occasion that we are blessed with a new picture from filmmaker Terence Davies. With only Of Time And The City, a micro-budget, rarely seen essay film, Davies saw 11 years fall between The House of Mirth and his 2011 film The Deep Blue Sea. Thankfully though, that rate appears to be shrinking as his newest film, Sunset Song, debuts in theaters this weekend, and yet another film entitled A Quiet Passion is running the festival circuit.

But let’s not get ahead of things. Sunset Song premieres in limited release this weekend, and it’s yet another stunning achievement from one of the true masters of this era. Based on Lewis Grassic Gibbon’s 1932 novel of the same name, Song introduces us to Chris Guthrie, a young woman living with her family on
See full article at CriterionCast »

NYC Weekend Watch: Amy Heckerling, J.G. Ballard, Noël Coward & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Metrograph

Spend “A Weekend with Amy Heckerling” when Johnny Dangerously and Fast Times at Ridgemont High screen this Saturday, while Look Who’s Talking and Clueless show on Sunday. All are on 35mm.

For “Welcome to Metrograph: A-z,” see a print of Philippe Garrel‘s The Inner Scar on Friday and Sunday; André de Toth‘s
See full article at The Film Stage »

‘Sunset Song’ Review: Terence Davies’ Sweeping Lyricism Gets Undercut by His Prose

‘Sunset Song’ Review: Terence Davies’ Sweeping Lyricism Gets Undercut by His Prose
It’s not just the shot of a field of corn that puts one in mind of Terrence Malick when watching Terence Davies’ “Sunset Song.” Like Malick, Davies has entered a period of unprecedented productivity in his golden years: After the long wait between 2000’s “The House of Mirth” and 2011’s “The Deep Blue Sea,” “Sunset Song,” which adapts a novel by Lewis Grassic Gibbon, is the first of two Davies movies slated for release in 2016. (The Emily Dickinson biopic “A Quiet Passion” should arrive in the fall.) But unlike Malick, whose increased output has left his recent movies feeling.
See full article at The Wrap »

Daily | Terence Davies

Starting this weekend, Terence Davies will be in New York as the Museum of the Moving Image presents a retrospective of his films, complete but for his latest, A Quiet Passion. He'll be discussing The Long Day Closes and Sunset Song, which opens in the States next week, and there'll be screenings of his Trilogy, Distant Voices, Still Lives, The House of Mirth with Gillian Anderson, Eric Stoltz, Anthony Lapaglia, Laura Linney, The Neon Bible with Gena Rowlands, Of Time and the City and The Deep Blue Sea with Rachel Weisz and Tom Hiddleston. We're gathering odes to one of Britain's greatest directors. » - David Hudson
See full article at Fandor: Keyframe »

Daily | Terence Davies

Starting this weekend, Terence Davies will be in New York as the Museum of the Moving Image presents a retrospective of his films, complete but for his latest, A Quiet Passion. He'll be discussing The Long Day Closes and Sunset Song, which opens in the States next week, and there'll be screenings of his Trilogy, Distant Voices, Still Lives, The House of Mirth with Gillian Anderson, Eric Stoltz, Anthony Lapaglia, Laura Linney, The Neon Bible with Gena Rowlands, Of Time and the City and The Deep Blue Sea with Rachel Weisz and Tom Hiddleston. We're gathering odes to one of Britain's greatest directors. » - David Hudson
See full article at Keyframe »

‘Sunset Song’ Writer-Director Terence Davies on Making Non-Commercial Movies

‘Sunset Song’ Writer-Director Terence Davies on Making Non-Commercial Movies
Critics adore Terence Davies for his cinematic formalism, achingly beautiful images, and portraits of society’s outsiders. Though hailed by his admirers as one of Britain’s greatest living filmmakers, he remains little known on this side of the Pond. That could change with “Sunset Song,” an adaptation of Lewis Grassic Gibbon’s novel about a shy farmgirl, which Magnolia releases May 13, as well as “A Quiet Passion,” an Emily Dickinson biopic that earned raves at the Berlin Film Festival.

Do you ever set out to make a big commercial hit?

I haven’t got the talent to think commercially. I wish I did. I’d love to be a household name, like Pampers.

There was a decade between “The House of Mirth” and “The Deep Blue Sea” where you didn’t make narrative features. What happened?

We were going through another phase in this country of “we’ve got
See full article at Variety - Film News »

Berlin Film Review: ‘A Quiet Passion’

Berlin Film Review: ‘A Quiet Passion’
“Beauty is not caused. It is,” Emily Dickinson famously wrote — a truism not always applicable to the cinema of Terence Davies, which can work mightily hard toward its beauty, often to rapturous effect. This most refined of filmmakers appears to have come unstuck, however, with the story of Dickinson herself. His most mannered and least fulfilling work to date, “A Quiet Passion” boasts meticulous craft and ornate verbiage in abundance, but confines Cynthia Nixon’s melancholia-stricken performance as arguably America’s greatest poet in an emotional straitjacket of variously arch storytelling tones — of which a prolonged experiment with quippy, Whit Stillman-esque deadpan is the most unhappily surprising. An evident labor of love for its suddenly prolific helmer, this “Passion” project nonetheless registers as a missed opportunity; audience affection will range from quiet to inaudible.

It’s been 16 years, following his richly textured Edith Wharton adaptation “The House of Mirth,
See full article at Variety - Film News »

‘A Quiet Passion’ Clip: Emily Dickinson Makes A Friend In Terence Davies’ Bio – Berlin

‘A Quiet Passion’ Clip: Emily Dickinson Makes A Friend In Terence Davies’ Bio – Berlin
Exclusive: Terence Davies’ Berlinale Special entry, A Quiet Passion, will debut here on Sunday, February 14. Written and directed by Davies (The House Of Mirth, The Deep Blue Sea), the biopic tells the story of Emily Dickinson from her early days as a young schoolgirl to her later years as a reclusive, unrecognized artist whose huge body of emotional and powerful literary work was discovered after her death. Cynthia Nixon and Jennifer Ehle star. The clip above sees the…
See full article at Deadline Movie News »

Sunset Song review – a lyrical triumph

Terence Davies’s lyrical version of the Scottish classic finds the veteran director at the height of his powers

Back in the dark days when the UK Film Council was merrily throwing money at the shameful Sex Lives of the Potato Men, British film-making legend Terence Davies was finding it impossible to fund a screen adaptation of Lewis Grassic Gibbon’s 1932 novel, Sunset Song, a hardscrabble tale of a young woman finding her identity – personal, national, spiritual – in rural northeast Scotland beneath the gathering clouds of the Great War. Despite the critical success of The House of Mirth, his 2000 adaptation of Edith Wharton’s novel, Davies feared he might never trouble our cinema screens again. It wasn’t until his superb, low-budget love letter to Liverpool, Of Time and the City, became the unexpected toast of Cannes in 2008 that the skies started to brighten for our pre-eminent auteur. Now, with
See full article at The Guardian - Film News »
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