Indie News
Richard Linklater just had his hometown premiere for “Hit Man” in Austin May 15, at which his star and co-writer Glen Powell was inducted into the Texas Film Hall of Fame. But he’s already wrapped his next movie, “Nouvelle Vague.”
Shot in Paris, “Nouvelle Vague” tells the story of Jean-Luc Godard making his jump from Cahiers du Cinema film critic (Cahiers is also fittingly where the first look images from “Nouvelle Vague” made their debut) to filmmaker with the making of his first movie, “Breathless.” Guillaume Marbeck is Godard, and Zoe Deutsch plays his star Jean Seberg.
On the red carpet of the “Hit Man” premiere, Linklater talked to IndieWire about what he hopes viewers take away from “Nouvelle Vague” and, especially, what we can learn from the French New Wave filmmakers at this moment when there’s such doom and gloom about the future of cinema.
“Just absolute love and dedication to cinema,...
Shot in Paris, “Nouvelle Vague” tells the story of Jean-Luc Godard making his jump from Cahiers du Cinema film critic (Cahiers is also fittingly where the first look images from “Nouvelle Vague” made their debut) to filmmaker with the making of his first movie, “Breathless.” Guillaume Marbeck is Godard, and Zoe Deutsch plays his star Jean Seberg.
On the red carpet of the “Hit Man” premiere, Linklater talked to IndieWire about what he hopes viewers take away from “Nouvelle Vague” and, especially, what we can learn from the French New Wave filmmakers at this moment when there’s such doom and gloom about the future of cinema.
“Just absolute love and dedication to cinema,...
- 5/19/2024
- by Christian Blauvelt
- Indiewire
Few periods on the calendar mean more to cinephiles than the two weekends in May occupied by the Cannes Film Festival. Since its founding in 1946, the French festival has been a launchpad for some of the most artistically significant films of all time. The Palme d’Or is one of the most coveted film awards on the planet, and the festival’s ability to balance subversive arthouse work with major Hollywood premieres has led many to view it as the world’s most significant celebration of cinema.
The 2024 lineup featured a mix of buzzy premieres from New Hollywood titans like Francis Ford Coppola and Paul Schrader alongside exciting new works from emerging directors. Between the Main Competition, Un Certain Regard, special screenings, and sidebars like the Directors’ Fortnight and Critics’ Week, the onslaught of new films can be overwhelming for anyone who isn’t able to give the festival their 24/7 attention.
The 2024 lineup featured a mix of buzzy premieres from New Hollywood titans like Francis Ford Coppola and Paul Schrader alongside exciting new works from emerging directors. Between the Main Competition, Un Certain Regard, special screenings, and sidebars like the Directors’ Fortnight and Critics’ Week, the onslaught of new films can be overwhelming for anyone who isn’t able to give the festival their 24/7 attention.
- 5/19/2024
- by Christian Zilko
- Indiewire
Certainly the grossest, most way-out-there, and dare-you-to-lose-your-dinner film to debut in the Cannes competition so far, Coralie Fargeat’s “Revenge” follow-up “The Substance” premiered in the Palais Sunday night after a morning press screening that saw plenty of expected walkouts. Surely the same volume of repulsed exiters carried over to the premiere public screening, where Greta Gerwig’s jury got their first glimpse of the otherwise since-secretive film whose synopses and press notes tell you little. Mubi has distribution rights, which the company purchased just before the festival started. IndieWire’s David Ehrlich calls it an “instant classic.”
In this audacious, two-plus-hour feminist body horror, Demi Moore bares all to play a once-decorated actress quote-unquote past her prime named Elisabeth Sparkle, now resigned to Jane Fonda-esque fitness videos. But her time is finally up. She’s fired for being too old, sent packing home back to her sparse LA apartment,...
In this audacious, two-plus-hour feminist body horror, Demi Moore bares all to play a once-decorated actress quote-unquote past her prime named Elisabeth Sparkle, now resigned to Jane Fonda-esque fitness videos. But her time is finally up. She’s fired for being too old, sent packing home back to her sparse LA apartment,...
- 5/19/2024
- by Ryan Lattanzio
- Indiewire
An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s “The Substance” will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years, a burden this camp-adjacent instant classic aspires to cast off with some of the most spectacularly disgusting body horror this side of “The Fly” or the final minutes of “Akira.”
If the “Revenge” director’s immaculately crafted debut tried to dismantle male toxicity with a shotgun blast square to the balls, Fargeat’s Cannes-approved follow-up turns that same attention inwards, allowing her to take aim at both the pointlessness she’s been conditioned to feel as a forty-something woman, and also at the resentment she’s been conditioned to feel toward her younger self. Squelching with fury at how a woman’s “fuckability” is used as the ultimate measure of her worth,...
If the “Revenge” director’s immaculately crafted debut tried to dismantle male toxicity with a shotgun blast square to the balls, Fargeat’s Cannes-approved follow-up turns that same attention inwards, allowing her to take aim at both the pointlessness she’s been conditioned to feel as a forty-something woman, and also at the resentment she’s been conditioned to feel toward her younger self. Squelching with fury at how a woman’s “fuckability” is used as the ultimate measure of her worth,...
- 5/19/2024
- by David Ehrlich
- Indiewire
Cannes 2024 Sales: A24 Acquires Rights to Ruben Öslund’s New Film ‘The Entertainment System Is Down’
For those keeping score, and we know Neon is, it’s four Palme d’Or victories for Neon, who bought “Anatomy of a Fall” out of last year’s Cannes Film Festival. The boutique shingle didn’t stop there, and also acquired “Robot Dreams” and “Perfect Days” as well. Netflix plunked down $11 million for “May December,” and the festival produced sales for other buzzy titles like “Jeanne du Barry” and “The Taste of Things.” All that, and with the specter of the writers strike hanging over it.
So what will sell big this year? Many of the titles in competition as part of this year’s Official Selection are up for grabs, even as Neon, A24, Mubi, and Searchlight are all arriving with at least one contender in the main race. We’ll be tracking everything that gets bought below throughout the festival and beyond.
Films Acquired During the Festival...
So what will sell big this year? Many of the titles in competition as part of this year’s Official Selection are up for grabs, even as Neon, A24, Mubi, and Searchlight are all arriving with at least one contender in the main race. We’ll be tracking everything that gets bought below throughout the festival and beyond.
Films Acquired During the Festival...
- 5/19/2024
- by Brian Welk
- Indiewire
In these trying times, “Saturday Night Live” wants character actors of all stripes to be extra careful when walking around New York City — but Jon Hamm can relax.
10 days after Steve Buscemi was hospitalized after being unexpectedly punched in the face, NBC’s late-night show mocked the situation with a lighthearted sketch about protecting our actors who are recognizable but not necessarily household names. Host Jake Gyllenhaal appeared as an NYPD officer urging actors to stay safe while briefing reporters about the issue.
“Just this week, national treasure Steve Buscemi was punched while walking through Kips Bay,” he said. “These types of attacks cannot and will not be tolerated. So to everyone watching, I have one important message: Stop punching character actors in the face.”
Gyllenhaal went on to explain that he believes Buscemi’s attack could be the start of a larger wave of crimes against character actors. He...
10 days after Steve Buscemi was hospitalized after being unexpectedly punched in the face, NBC’s late-night show mocked the situation with a lighthearted sketch about protecting our actors who are recognizable but not necessarily household names. Host Jake Gyllenhaal appeared as an NYPD officer urging actors to stay safe while briefing reporters about the issue.
“Just this week, national treasure Steve Buscemi was punched while walking through Kips Bay,” he said. “These types of attacks cannot and will not be tolerated. So to everyone watching, I have one important message: Stop punching character actors in the face.”
Gyllenhaal went on to explain that he believes Buscemi’s attack could be the start of a larger wave of crimes against character actors. He...
- 5/19/2024
- by Christian Zilko
- Indiewire
Cannes – There is nothing wrong with a three-hour movie. There have been absolute masterworks longer than 180 minutes. It sorta helps, however, if the film is, well, a movie. After watching Kevin Costner’s 181-minute-long “Horizon: An American Saga – Chapter 1,” we can’t argue its classification as a film, artist’s prerogative, but we’re still not sure it should be constituted as one by anyone else. And that’s for a multitude of reasons.
Continue reading ‘Horizon: An American Saga’ Review: Kevin Costner’s Sprawling Western With No End In Sight [Cannes] at The Playlist.
Continue reading ‘Horizon: An American Saga’ Review: Kevin Costner’s Sprawling Western With No End In Sight [Cannes] at The Playlist.
- 5/19/2024
- by Gregory Ellwood
- The Playlist
Cannes – Eduard Limonov was a complicated man. He was a poet, a novelist, and a political activist; at one point, a Russian dissident who lived in New York and Paris; he returned to his homeland to lead a fascist party that supported a return to an ideology closer to that of the former Soviet Union. His story is so expansive it could likely be chronicled in a 10-hour mini-series and still miss out on an outlandish or surprising period in his life.
Continue reading ‘Limonov. The Ballad’: Ben Whishaw Channels The Controversial Punk Russian Poet [Cannes] at The Playlist.
Continue reading ‘Limonov. The Ballad’: Ben Whishaw Channels The Controversial Punk Russian Poet [Cannes] at The Playlist.
- 5/19/2024
- by Gregory Ellwood
- The Playlist
Imagine a film where Cate Blanchett plays a version of Angela Merkel. And Charles Dance is a Joe Biden parody in full British accent. Now add Denis Ménochet as a boisterous French president carried around a damp forest in a wheelbarrow and Alicia Vikander as a beautiful diplomat who tells tales of the end of the world in frenzied Swedish. A feel more pinches of insanity and you would have “Rumours,” the newest by Canadian maverick trio Guy Maddin, Evan Johnson, and Galen Johnson.
Continue reading ‘Rumours’ Review: Guy Maddin’s Bonkers Political Satire With Cate Blanchett Loses Steam Midway Through [Cannes] at The Playlist.
Continue reading ‘Rumours’ Review: Guy Maddin’s Bonkers Political Satire With Cate Blanchett Loses Steam Midway Through [Cannes] at The Playlist.
- 5/19/2024
- by Rafa Sales Ross
- The Playlist
“If” (Paramount) may have fallen short of its anticipated $40 million opening, but the glass is at least half-full. Preview and initial numbers suggested it could end up around $28 million; instead, its initial estimate is $35 million.
That improvement, along with its A Cinemascore, suggests a film that could stick around. It would be a real boost for the cause of original non-franchise production. Domestic on “If” is better than foreign, which stands at $24 million, $20 million from this weekend. That puts it at $59 million worldwide.
The full weekend is projected to hit $99 million. If that becomes $100 million, it would mark the first time since Easter. By comparison, 2023 saw every weekend from April 7 through mid-August hit that level. In 2019, with significantly lower ticket prices, that was the case from post-Super Bowl through Labor Day.
‘The Fall Guy’©Universal/Courtesy Everett Collection
Any positive news is welcome. We are three weeks into summer playtime...
That improvement, along with its A Cinemascore, suggests a film that could stick around. It would be a real boost for the cause of original non-franchise production. Domestic on “If” is better than foreign, which stands at $24 million, $20 million from this weekend. That puts it at $59 million worldwide.
The full weekend is projected to hit $99 million. If that becomes $100 million, it would mark the first time since Easter. By comparison, 2023 saw every weekend from April 7 through mid-August hit that level. In 2019, with significantly lower ticket prices, that was the case from post-Super Bowl through Labor Day.
‘The Fall Guy’©Universal/Courtesy Everett Collection
Any positive news is welcome. We are three weeks into summer playtime...
- 5/19/2024
- by Tom Brueggemann
- Indiewire
There are plenty of North American filmmakers influenced by the giants of international cinema. These filmmakers import stylistic references, different tones and rhythms, perhaps key collaborators, such as a cinematographer, to films that nonetheless are born of their own local filmmaking cultures. For his second feature, following the anarchic political satire of his The Twentieth Century, Canadian director Matthew Rankin has imagined a different approach. His formally precise and very funny Universal Language, a Cannes’s Directors Fortnight discovery this year, is not only influenced by the Iranian cinema of Abbas Kiarostami and Jafar Panahi, among others, but considers a Winnipeg […]
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
- 5/19/2024
- by Scott Macaulay
- Filmmaker Magazine - Blog
There are plenty of North American filmmakers influenced by the giants of international cinema. These filmmakers import stylistic references, different tones and rhythms, perhaps key collaborators, such as a cinematographer, to films that nonetheless are born of their own local filmmaking cultures. For his second feature, following the anarchic political satire of his The Twentieth Century, Canadian director Matthew Rankin has imagined a different approach. His formally precise and very funny Universal Language, a Cannes’s Directors Fortnight discovery this year, is not only influenced by the Iranian cinema of Abbas Kiarostami and Jafar Panahi, among others, but considers a Winnipeg […]
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
- 5/19/2024
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Emma Stone and Jesse Plemons are hungry, wolfing down sandwiches at the start of our “Kinds of Kindness” interview. They’re in Cannes to promote the singular three-part anthology film, which has been well-received. They laugh a lot. She’s a Yorgos Lanthimos veteran, and just won her second Oscar embodying the free-spirited Bella Baxter in “Poor Things.” After that, it seems, nothing will phase her and she’ll do anything for her soulmate director. Announced at Cannes: Their next movie to be shot this summer, “Bugonia” (Focus Features), a remake of a Korean thriller, co-starring Plemons.
The 36-year-old one-time child actor is the new kid in town, joining such familiar faces as Stone, Margaret Qualley, and Willem Dafoe in the Lanthimos ensemble. When the “Fargo” and “Killers of the Flower Moon” star got the call from his agent, even before he read the “Kinds of Kindness” script, he said,...
The 36-year-old one-time child actor is the new kid in town, joining such familiar faces as Stone, Margaret Qualley, and Willem Dafoe in the Lanthimos ensemble. When the “Fargo” and “Killers of the Flower Moon” star got the call from his agent, even before he read the “Kinds of Kindness” script, he said,...
- 5/19/2024
- by Anne Thompson
- Indiewire
Saturday saw the premiere of the first bona fide competition hit with “Emilia Pérez,” Jacques Audiard’s queer musical fantasia about a Mexican trans woman’s (breakout star Karla Sofía Gascón) empowerment and liberation.
Audiard, who won the 2015 Palme d’Or from a jury led by the Coens for “Dheepan,” is working in a mode not far-flung from the grit of crime dramas like Grand Prix winner “A Prophet” or 2012 Palme contender “Rust and Bone.” But here, he weds those elements to an emotional story spanning Mexico City and trans identity that’s further outside his comfort zone. Selena Gomez co-stars in this wide-swinging musical as the wife of cartel crime lord Manitas, who with the help of a lawyer played by Zoe Saldana, undergoes gender confirmation surgery. Gascón stars as Pérez in a performance already getting best actress buzz. The movie careens from genre thriller to comedy and musical and queer redemption story,...
Audiard, who won the 2015 Palme d’Or from a jury led by the Coens for “Dheepan,” is working in a mode not far-flung from the grit of crime dramas like Grand Prix winner “A Prophet” or 2012 Palme contender “Rust and Bone.” But here, he weds those elements to an emotional story spanning Mexico City and trans identity that’s further outside his comfort zone. Selena Gomez co-stars in this wide-swinging musical as the wife of cartel crime lord Manitas, who with the help of a lawyer played by Zoe Saldana, undergoes gender confirmation surgery. Gascón stars as Pérez in a performance already getting best actress buzz. The movie careens from genre thriller to comedy and musical and queer redemption story,...
- 5/19/2024
- by Ryan Lattanzio
- Indiewire
Sex is politics and politics is sex in Kirill Serebrennikov’s recklessly beautiful, wildly entertaining English-language debut “Limonov: The Ballad.” This punk rock epic moves at the pace of a train coming off its tracks across Moscow, New York, Paris, and back to Russia again, starring Ben Whishaw in a career-crowning lead performance as the self-styled alternative poet and political dissident Eduard Limonov (who died in 2020). Based on French writer and journalist Emmanuel Carrère’s biographical novel, “Limonov” spans the 1960s to near present-day Siberia to tell with orgiastic excess the life story of the eventual founder of the National Bolshevik Party, which married a far-left youth movement to far-right fascist ideology. But while Limonov’s politics are inextricable from the libertine hedonist he was, Serebrennikov’s film is more a purely pleasurable romantic odyssey than political deep dive, radiating a countercultural energy that smacks of freewheeling ‘70s cinema more...
- 5/19/2024
- by Ryan Lattanzio
- Indiewire
Blue Sun Palace, Constance Tsang’s first feature, is a migrant story that’s vividly attuned to the temporal and emotional dislocation of those stranded far away from home. Set in Flushing, Queens—where the director grew up—the film follows three transplants as they forge new ties in the borough’s Chinese community, which Tsang depicts as a bubble suspended in time and space. Save for the occasional, blink-it-and-you-miss-it glimpses of road signs and billboards, there’d be no way of identifying this as a corner of New York City; Blue Sun Palace unfurls for the most part inside crammed apartments and massage parlors, where […]
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine-Director Interviews
Blue Sun Palace, Constance Tsang’s first feature, is a migrant story that’s vividly attuned to the temporal and emotional dislocation of those stranded far away from home. Set in Flushing, Queens—where the director grew up—the film follows three transplants as they forge new ties in the borough’s Chinese community, which Tsang depicts as a bubble suspended in time and space. Save for the occasional, blink-it-and-you-miss-it glimpses of road signs and billboards, there’d be no way of identifying this as a corner of New York City; Blue Sun Palace unfurls for the most part inside crammed apartments and massage parlors, where […]
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine - Blog
“Please stop me if any of the terms don’t make sense.” A few days before his feature debut, Eephus, will premiere in the Directors’ Fortnight, Carson Lund is sitting on a rooftop terrace in Cannes and worrying I may not catch all the jargon. Understandably. A chronicle of the last baseball game played at Soldiers Field in Douglas, Ma before the grounds will be paved over and replaced by a middle school, the chat’s testing my—admittedly limited—knowledge of the sport. Yet how you’ll respond to Lund’s wistful film won’t depend on your level of inside baseball. It will depend on […]
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine-Director Interviews
“Please stop me if any of the terms don’t make sense.” A few days before his feature debut, Eephus, will premiere in the Directors’ Fortnight, Carson Lund is sitting on a rooftop terrace in Cannes and worrying I may not catch all the jargon. Understandably. A chronicle of the last baseball game played at Soldiers Field in Douglas, Ma before the grounds will be paved over and replaced by a middle school, the chat’s testing my—admittedly limited—knowledge of the sport. Yet how you’ll respond to Lund’s wistful film won’t depend on your level of inside baseball. It will depend on […]
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine - Blog
In front of empty wooden bleachers on a late summer day in Massachusetts, two squads of out-of-shape, middle-aged men show up to play a game of baseball on what they all expect to be one of their saddest afternoons in recent memory. For decades, this recreational league has been the social glue that binds the men in this community together. But it’s all about to disappear when the local field is destroyed after the season, which ends today. So the men load their coolers up with cheap beer, spend copious amounts of time stretching, and prepare to give their summer haven a glorious send-off before they have to find something else to do with their weekends.
Carson Lund’s directorial debut shares its name with a slow-moving pitch that has largely been forgotten by modern baseball players — and it’s a fitting title for a film that embraces the...
Carson Lund’s directorial debut shares its name with a slow-moving pitch that has largely been forgotten by modern baseball players — and it’s a fitting title for a film that embraces the...
- 5/19/2024
- by Christian Zilko
- Indiewire
It’s hard to remember the last time a director prominently displayed their own vagina onscreen. Statistically speaking, most of them wouldn’t be able to do it if they tried. But Noémie Merlant has never shied away from an opportunity to redefine how female bodies are depicted on film, and “The Portrait of a Lady on Fire” star’s recent pivot behind the camera has only emboldened her efforts to reject the male gaze by inviting her characters to reclaim its oppressive hyper-sexualization on their own terms.
Needless to say, she’s happy to lead by example in her poisoned but delicious midnight snack of a second feature. Playing Élise, a C-list starlet who’s recently been cast as Marilyn Monroe in a TV movie (only to steal her boyfriend’s car and flee the set in a panic), Merlant crashes into “The Balconettes” dolled up to look like...
Needless to say, she’s happy to lead by example in her poisoned but delicious midnight snack of a second feature. Playing Élise, a C-list starlet who’s recently been cast as Marilyn Monroe in a TV movie (only to steal her boyfriend’s car and flee the set in a panic), Merlant crashes into “The Balconettes” dolled up to look like...
- 5/19/2024
- by David Ehrlich
- Indiewire
When Glen Powell was inducted into the Texas Film Hall of Fame in Austin May 15, there was one obvious person to give him the honor: The director who discovered Powell, when the actor was just 14 years old, Robert Rodriguez.
Powell grew up in Austin right at the moment that it was starting to become a solid film production hub, thanks in large part to Rodriguez, the auteur behind “El Mariachi” and “From Dusk Till Dawn” and who’d founded Austin’s Troublemaker Studios. When Rodriguez was casting for “Spy Kids 3-D: Game Over,” he was looking for a number of “local hires” to round out the cast.
“I remember distinctly how surprised I was [by Powell] because we’d cast a bunch of people from L.A.,” Rodriguez told IndieWire at the red carpet for the induction — which was also the Austin premiere of Netflix’s “Hit Man,” starring Powell and directed by Richard Linklater.
Powell grew up in Austin right at the moment that it was starting to become a solid film production hub, thanks in large part to Rodriguez, the auteur behind “El Mariachi” and “From Dusk Till Dawn” and who’d founded Austin’s Troublemaker Studios. When Rodriguez was casting for “Spy Kids 3-D: Game Over,” he was looking for a number of “local hires” to round out the cast.
“I remember distinctly how surprised I was [by Powell] because we’d cast a bunch of people from L.A.,” Rodriguez told IndieWire at the red carpet for the induction — which was also the Austin premiere of Netflix’s “Hit Man,” starring Powell and directed by Richard Linklater.
- 5/18/2024
- by Christian Blauvelt
- Indiewire
Jane Schoenbrun’s “I Saw the TV Glow” is a singular work of cinema, a film that earned rave reviews for committing to its distinct aesthetic and exploration of the ways that our attachments to pop culture that feel disposable to others can be linked to trans identity. But despite many hailing it as a perfect standalone movie, the filmmaker believes there might be even more stories to tell in the world of Owen and “The Pink Opaque.”
In a new interview with USA Today, Schoenbrun refused to rule out the possibility of making a sequel to “I Saw the TV Glow,” explaining that they’d be open to approaching the story again from a different perspective.
“I’ve been thinking about it for quite a while. I always ask myself, ‘Where do the characters go? Is there anywhere else after this?'” Schoenbrun said. “Sometimes there’s not an answer that deserves further exploration,...
In a new interview with USA Today, Schoenbrun refused to rule out the possibility of making a sequel to “I Saw the TV Glow,” explaining that they’d be open to approaching the story again from a different perspective.
“I’ve been thinking about it for quite a while. I always ask myself, ‘Where do the characters go? Is there anywhere else after this?'” Schoenbrun said. “Sometimes there’s not an answer that deserves further exploration,...
- 5/18/2024
- by Christian Zilko
- Indiewire
Bravo’s “Vanderpump Rules” has long been one of unscripted television’s most formally adventurous series, with a cinematic grammar that constantly evolves to express the feelings and ideas at each season’s center. Last season, for example, editor Jesse Friedman explored the “Scandoval” situation in which longtime cast member Tom Sandoval cheated on his girlfriend Ariana Madix by telling the story in reverse — a technique that had more in common with the work of Christopher Nolan and Harold Pinter than with other shows in the world of reality TV, and one that provided the perfect visual corollary for Ariana and her friends’ piecing together of the narrative. For the Season 11 finale, Friedman once again took some audacious stylistic risks that paid off not only emotionally, but indicated how the show as a whole might be coming to the end of an era.
The final moments of the season finale...
The final moments of the season finale...
- 5/18/2024
- by Jim Hemphill
- Indiewire
Few filmmakers have ever sacrificed more for their craft than Mohammad Rasoulof, the Iranian director who has faced non-stop legal pressure from his country’s government in recent years over his politically charged films. Rasoulof, who has been arrested and imprisoned on multiple occasions, is bringing his latest film, “The Seed of the Sacred Fig,” to the Main Competition at the 2024 Cannes Film Festival. But weeks before the film — which follows a judge in Tehran navigating political fallout from protests — was set to debut on the Croisette, Rasoulof was sentenced to eight years of imprisonment and a flogging in Iran.
Many interpreted the sentence as an attempt to force Rasoulof to pull his provocative film from Cannes. But the auteur soon fled the authoritarian country and found shelter in Germany with the hope of attending his film’s premiere this week. In a new interview with The Guardian, conducted from an undisclosed location,...
Many interpreted the sentence as an attempt to force Rasoulof to pull his provocative film from Cannes. But the auteur soon fled the authoritarian country and found shelter in Germany with the hope of attending his film’s premiere this week. In a new interview with The Guardian, conducted from an undisclosed location,...
- 5/18/2024
- by Christian Zilko
- Indiewire
Fresh off his brief but scene-stealing performance in “Civil War,” Jesse Plemons is reteaming with six-time Academy Award-nominated filmmaker Yorgos Lanthimos for his next film, now titled “Bugonia,” which has landed at Focus Features for North America. Plemons is also one of the many ensemble talents in Lanthimos’ “Kinds Of Kindness,” which just premiered at the Cannes Film Festival and co-stars Emma Stone, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn, Mamoudou Athie, and Hunter Schafer (read our review).
Continue reading Jesse Plemons Joins Emma Stone In Yorgos Lanthimos’ ‘Bugonia’ For Focus Features at The Playlist.
Continue reading Jesse Plemons Joins Emma Stone In Yorgos Lanthimos’ ‘Bugonia’ For Focus Features at The Playlist.
- 5/18/2024
- by Rodrigo Perez
- The Playlist
Harmony Korine’s AggroDr1ft unfurls through sheets of kaleidoscopic color — neon shades of gold, aqua and red — that ripple and pulse, achieving almost an intelligence of their own as they add expressionistic textures to the film’s Miami-set tale of a melancholy hitman out for a demonic Final Boss. And while the narrative recalls, at times, Robert E. Howard, Michael Mann and Grand Theft Auto, the film’s genuinely unique method of production allows its hallucinatory vibe — aided by an insidious AraabMuzik score — to reign supreme. Working with his team at new production outfit Edglrd, including creative director Joao […]
The post “The Fact That It’s Thermal Imagery, It Hits Memory in a Different Way”: Edglrd Creative Director Joao Rosa on Harmony Korine’s Visionary AggroDr1ft first appeared on Filmmaker Magazine.
The post “The Fact That It’s Thermal Imagery, It Hits Memory in a Different Way”: Edglrd Creative Director Joao Rosa on Harmony Korine’s Visionary AggroDr1ft first appeared on Filmmaker Magazine.
- 5/18/2024
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Harmony Korine’s AggroDr1ft unfurls through sheets of kaleidoscopic color — neon shades of gold, aqua and red — that ripple and pulse, achieving almost an intelligence of their own as they add expressionistic textures to the film’s Miami-set tale of a melancholy hitman out for a demonic Final Boss. And while the narrative recalls, at times, Robert E. Howard, Michael Mann and Grand Theft Auto, the film’s genuinely unique method of production allows its hallucinatory vibe — aided by an insidious AraabMuzik score — to reign supreme. Working with his team at new production outfit Edglrd, including creative director Joao […]
The post “The Fact That It’s Thermal Imagery, It Hits Memory in a Different Way”: Edglrd Creative Director Joao Rosa on Harmony Korine’s Visionary AggroDr1ft first appeared on Filmmaker Magazine.
The post “The Fact That It’s Thermal Imagery, It Hits Memory in a Different Way”: Edglrd Creative Director Joao Rosa on Harmony Korine’s Visionary AggroDr1ft first appeared on Filmmaker Magazine.
- 5/18/2024
- by Scott Macaulay
- Filmmaker Magazine - Blog
You haven’t lived until you’ve seen a movie musical where the words “mammoplasty, vaginoplasty, rhinoplasty” play out in song. Nor have you lived until you’ve seen that same movie musical in which Selena Gomez says the words “My pussy still hurts when I think of you.” And you’ve never seen a movie musical at all about transness that takes as bold of swings as Jacques Audiard‘s “Emilia Pérez,” which is stylistically unforgettable while missing the crucial element that makes any movie musical work: Actually good, memorable songs.
Audiard is the 72-year-old French director known ever for dipping into other worlds and genres that are far from his own as a cis white guy from Europe. His 2015 Palme d’Or winner “Dheepan” was a story of Tamil refugees who’ve fled Sri Lankan civil war for Paris. “The Sisters Brothers” was his attempt at a western...
Audiard is the 72-year-old French director known ever for dipping into other worlds and genres that are far from his own as a cis white guy from Europe. His 2015 Palme d’Or winner “Dheepan” was a story of Tamil refugees who’ve fled Sri Lankan civil war for Paris. “The Sisters Brothers” was his attempt at a western...
- 5/18/2024
- by Ryan Lattanzio
- Indiewire
Cannes – You have to give Jacques Audiard credit. The famed French filmmaker has proven time and time again he isn’t afraid to take big swings. And with “Emilia Perez,” he’s attempting to hit one all the way across the Atlantic. Debuting at the 2024 Cannes Film Festival in competition, “Perez” is a Mexican-set musical melodrama with a narrative that seemingly knows no bounds. And yet, even at its most unwieldy, Audiard’s cinematic skill and Zoe Saldana‘s at times dazzling performance make it hard to ignore.
Continue reading ‘Emilia Perez’ Review: Zoe Saldana Sings In Jacques Audiard’s Audacious Movie Musical [Cannes] at The Playlist.
Continue reading ‘Emilia Perez’ Review: Zoe Saldana Sings In Jacques Audiard’s Audacious Movie Musical [Cannes] at The Playlist.
- 5/18/2024
- by Gregory Ellwood
- The Playlist
I’m going to tell you something that will instantly rattle a millennial body to its core: “Glee,” the Fox musical dramedy that became a phenomenon before becoming a dark cultural tale, premiered 15 years ago, on May 19, 2009.
To make you feel slightly better about the passage of time, that date is a bit of a cheat: Because Fox suspected it had an honest-to-goodness hit on its hands, the network premiered the first episode after the “American Idol” Season 8 finale in May, before beginning the full season a few months later in September.
Still, May 19 was the day the world first was re-reminded of the wonder of “Don’t Stop Believin,’” witnessed the instantly iconic combo of cringe and charisma that was Rachel Berry/Lea Michele, and considered the shocking declaration that someone could be both an athlete and a singer.
If you aren’t a recovering Gleek, one of the...
To make you feel slightly better about the passage of time, that date is a bit of a cheat: Because Fox suspected it had an honest-to-goodness hit on its hands, the network premiered the first episode after the “American Idol” Season 8 finale in May, before beginning the full season a few months later in September.
Still, May 19 was the day the world first was re-reminded of the wonder of “Don’t Stop Believin,’” witnessed the instantly iconic combo of cringe and charisma that was Rachel Berry/Lea Michele, and considered the shocking declaration that someone could be both an athlete and a singer.
If you aren’t a recovering Gleek, one of the...
- 5/18/2024
- by Erin Strecker
- Indiewire
I somehow lost my Sundance 2024 hat before arriving in Cannes. I was forced to take it off for the automated passport control in Paris, as it would’ve obscured my face too much for the fancy camera technology that only worked for about every third person in line. Walking to my next terminal with my luggage, it started raining and I went to put my hat on only to realize it was no longer poking out from the top of my purse. How is it that I managed to lose my one token of legitimacy immediately upon arriving in France? […]
The post Sartorial Losses and Nervous Excitement: Producer Stephanie Roush’s’ Cannes Diary #1 first appeared on Filmmaker Magazine.
The post Sartorial Losses and Nervous Excitement: Producer Stephanie Roush’s’ Cannes Diary #1 first appeared on Filmmaker Magazine.
- 5/18/2024
- by Stephanie Roush
- Filmmaker Magazine-Director Interviews
I somehow lost my Sundance 2024 hat before arriving in Cannes. I was forced to take it off for the automated passport control in Paris, as it would’ve obscured my face too much for the fancy camera technology that only worked for about every third person in line. Walking to my next terminal with my luggage, it started raining and I went to put my hat on only to realize it was no longer poking out from the top of my purse. How is it that I managed to lose my one token of legitimacy immediately upon arriving in France? […]
The post Sartorial Losses and Nervous Excitement: Producer Stephanie Roush’s’ Cannes Diary #1 first appeared on Filmmaker Magazine.
The post Sartorial Losses and Nervous Excitement: Producer Stephanie Roush’s’ Cannes Diary #1 first appeared on Filmmaker Magazine.
- 5/18/2024
- by Stephanie Roush
- Filmmaker Magazine - Blog
The Paul Schrader Renaissance began the moment “First Reformed” debuted to the director’s best reviews in at least 15 years, back in 2017. The spiritual trilogy formed around it — “The Card Counter” and “Master Gardener” — have fostered in a new generation’s mind this frankly narrow vision of what constitutes a Paul Schrader movie: men in rooms, pens across diaries, peculiar revenge plots.
It’s likely that audiences anticipating another drama in which a man’s profession comes dressed as the sick soul of America will be baffled by “Oh, Canada,” his newest feature now in competition at the Cannes Film Festival. It’s based on Russell Banks’ 2021 novel “Foregone.” Those well-acquainted with Schrader’s half-century of cinema may find themselves on the edge of bafflement with this film, which uses the last will and testament of documentary filmmaker Leonard Fife (Richard Gere) as a trickle-down device for 55 years of guilt,...
It’s likely that audiences anticipating another drama in which a man’s profession comes dressed as the sick soul of America will be baffled by “Oh, Canada,” his newest feature now in competition at the Cannes Film Festival. It’s based on Russell Banks’ 2021 novel “Foregone.” Those well-acquainted with Schrader’s half-century of cinema may find themselves on the edge of bafflement with this film, which uses the last will and testament of documentary filmmaker Leonard Fife (Richard Gere) as a trickle-down device for 55 years of guilt,...
- 5/18/2024
- by Nick Newman
- Indiewire
A searching and scattershot portrait of displacement that’s as likely to resonate with Jia Zhang-ke devotees as it is to mystify those who are new to his work, “Caught by the Tides” finds the Chinese auteur returning the most pivotal characters and locations that have defined his movies over the last two decades. Then again, perhaps it would be more accurate to say that he never left them.
Tracing the faintest contours of a scripted love story around the scaffolding of some documentary footage that Jia has collected over the course of 22 years, this elusive chimera of a film strains to literalize the delicate relationship between time and memory — a theme that has become increasingly central to the director’s work since the Three Gorges Dam was constructed in 2006 (see: “Still Life”), submerging 13 entire cities and forever displacing the millions of people who once lived in them. Here, even...
Tracing the faintest contours of a scripted love story around the scaffolding of some documentary footage that Jia has collected over the course of 22 years, this elusive chimera of a film strains to literalize the delicate relationship between time and memory — a theme that has become increasingly central to the director’s work since the Three Gorges Dam was constructed in 2006 (see: “Still Life”), submerging 13 entire cities and forever displacing the millions of people who once lived in them. Here, even...
- 5/18/2024
- by David Ehrlich
- Indiewire
The best part of “Savages” is its opening scene, which says less about the overall quality of Claude Barras’ sophomore feature and more about the strength of the vignette that establishes the stop-motion movie’s world. Against atmospheric music, the quote “The world does not belong to us. We borrow it from our children” flashes on screen, followed by images of a lushly rendered clay forest, brimming with life and energy. An adorable baby orangutan is briefly threatened by a small but deadly snake, before being rescued and cared for by his protective mother. Atop a tree, the mother gently breastfeeds her young son, in an idyllic image that is quickly disrupted by the sound of chainsaws, and abruptly, the tree falls to the ground, revealing a construction site filled with lumber and a factory spewing pollution into the air. The title “Savages” comes on screen against this image, and...
- 5/18/2024
- by Wilson Chapman
- Indiewire
Cannes: You are no doubt familiar with the work of Renate Reinsve. The Norwegian actress earned accolades for her performance in Joachim Trier’s stellar “The Worst Person in the World,” and if you happened to attend the 2024 Sundance Film Festival this past January, you may have seen her in Aaron Schimberg’s lauded “A Different Man.” Reinsive has already proven her prowess as an actress, but there is a scene in her latest endeavor, “Armand,” which, and excuse the justified hyperbole, is simply startling.
Continue reading ‘Armand’ Review: Renate Reinsve Is Simply Spectacular As A Mother In The Crosshairs [Cannes] at The Playlist.
Continue reading ‘Armand’ Review: Renate Reinsve Is Simply Spectacular As A Mother In The Crosshairs [Cannes] at The Playlist.
- 5/18/2024
- by Gregory Ellwood
- The Playlist
Diaries are written in secrecy, free-flowing thoughts anchored to the page as if the ink could stop memories from vanishing through the hands of time. Filmmaker Paul Schrader understands the lingering, often quiet desperation of journaling like few filmmakers do. From “Taxi Driver” to “Master Gardener,” the director’s work returns time and time to a man sitting by a desk with only an open journal, his words, and a small lamp for company.
Continue reading ‘Oh, Canada’ Review: Richard Gere & Jacob Elordi Are Brilliant In Paul Schrader’s Moving Contemplation Of Legacy [Cannes] at The Playlist.
Continue reading ‘Oh, Canada’ Review: Richard Gere & Jacob Elordi Are Brilliant In Paul Schrader’s Moving Contemplation Of Legacy [Cannes] at The Playlist.
- 5/18/2024
- by Rafa Sales Ross
- The Playlist
Dearest readers: It’s Bridgerton Week at IndieWire. We’re celebrating the new season by diving deep on one of the best romance shows on TV.
The world of “Bridgerton” is no stranger to competition. Among London’s elite, wealthy debutantes and ambitious suitors vie for attention and supremacy on every level, from status and title to the very notion of a “diamond” — the best the season has to offer. What better way to celebrate the eagerly awaited Season 3 (Part 1 now streaming and Part 2 due June 13) than by revisiting past and previous diamonds?
Now that there are fully 20 of them out in the world, we decided to rank the best “Bridgerton” episodes, and to not overly favor any one season over another. A show doesn’t become an overnight popular horny period sensation without some certified bangers (pun intended), so we revisited Seasons 1 and 2 along with Season 3 – Part 1 to pull the greatest hits.
The world of “Bridgerton” is no stranger to competition. Among London’s elite, wealthy debutantes and ambitious suitors vie for attention and supremacy on every level, from status and title to the very notion of a “diamond” — the best the season has to offer. What better way to celebrate the eagerly awaited Season 3 (Part 1 now streaming and Part 2 due June 13) than by revisiting past and previous diamonds?
Now that there are fully 20 of them out in the world, we decided to rank the best “Bridgerton” episodes, and to not overly favor any one season over another. A show doesn’t become an overnight popular horny period sensation without some certified bangers (pun intended), so we revisited Seasons 1 and 2 along with Season 3 – Part 1 to pull the greatest hits.
- 5/18/2024
- by Proma Khosla
- Indiewire
While “Bridgerton” is known for its steamy sex scenes, Season 3 lead star Nicola Coughlan asked for even more sultry moments onscreen.
The actress told Stylist (via Buzzfeed) that she wanted to be “very naked” for a particular scene in the latest Netflix season.
“I specifically asked for certain lines and moments to be included,” Coughlan said of working with intimacy coordinator Lizzy Talbot. “There’s one scene where I’m very naked on camera, and that was my idea, my choice. It just felt like the biggest ‘fuck you’ to all the conversation surrounding my body; it was amazingly empowering. I felt beautiful in the moment, and I thought, ‘When I’m 80, I want to look back on this and remember how fucking hot I looked!'”
She added of collaborating with Talbot, “You go, ‘Ok, what do I want to show? What don’t I want to show? What’s scripted,...
The actress told Stylist (via Buzzfeed) that she wanted to be “very naked” for a particular scene in the latest Netflix season.
“I specifically asked for certain lines and moments to be included,” Coughlan said of working with intimacy coordinator Lizzy Talbot. “There’s one scene where I’m very naked on camera, and that was my idea, my choice. It just felt like the biggest ‘fuck you’ to all the conversation surrounding my body; it was amazingly empowering. I felt beautiful in the moment, and I thought, ‘When I’m 80, I want to look back on this and remember how fucking hot I looked!'”
She added of collaborating with Talbot, “You go, ‘Ok, what do I want to show? What don’t I want to show? What’s scripted,...
- 5/18/2024
- by Samantha Bergeson
- Indiewire
The lush opening shots of “Savanna and the Mountain” introduce us to Covas do Barroso, a remote Portuguese village that time forgot. The townspeople are quite content to live a pastoral life of ranching and subsistence farming that hasn’t changed much over the past century. But Paolo Carneiro’s Cannes documentary quickly reveals that changes are coming to their lives whether they like it or not. The only question is whether they allow their town to be turned into something unrecognizable, or devote their lives to political activism with the hopes of stopping it.
Covas do Barroso sits on top of massive lithium deposits, and a British company called Savannah Resources has begun the legal proceedings to use eminent domain to build Europe’s largest open-cast lithium mine where the town currently stands. It’s a tale as old as time: Businessmen and politicians flood the region with promises...
Covas do Barroso sits on top of massive lithium deposits, and a British company called Savannah Resources has begun the legal proceedings to use eminent domain to build Europe’s largest open-cast lithium mine where the town currently stands. It’s a tale as old as time: Businessmen and politicians flood the region with promises...
- 5/18/2024
- by Christian Zilko
- Indiewire
Directors’ Fortnight is always a chance to catch films at the Cannes Film Festival off the main drag of the Croisette, out of the main competition, and with an eye toward boundary-breaking works. Mahdi Fleifel’s Directors’ Fortnight world premiere “To a Land Unknown” is the only Palestinian feature to screen at the festival, and IndieWire shares the exclusive trailer below.
The film follows Chatila (Mahmood Bakri) and Reda (Aram Sabbah), cousins and refugees stranded in Athens and trying to reach Germany. To escape Greece, they hatch a plan to pose as smugglers taking hostages, with dire consequences for their friendship. “It’s especially moving to me, in these incredible times, to present a Palestinian film at Cannes. As Palestinians, we challenge media stereotypes, but more importantly, we defy invisibility, a struggle we’ve faced since the beginning. Our stories are needed now more than ever,” Fleifel, born in Dubai...
The film follows Chatila (Mahmood Bakri) and Reda (Aram Sabbah), cousins and refugees stranded in Athens and trying to reach Germany. To escape Greece, they hatch a plan to pose as smugglers taking hostages, with dire consequences for their friendship. “It’s especially moving to me, in these incredible times, to present a Palestinian film at Cannes. As Palestinians, we challenge media stereotypes, but more importantly, we defy invisibility, a struggle we’ve faced since the beginning. Our stories are needed now more than ever,” Fleifel, born in Dubai...
- 5/18/2024
- by Ryan Lattanzio
- Indiewire
Cannes – They may have already collaborated on three feature films and a short, but get one thing straight. Emma Stone isn’t Yorgos Lanthimos‘ muse. It’s the other way around. As the two-time Best Actress winner noted with a sly wink during the “Kinds of Kindness” press conference, “He’s my muse.”
Read More: Cannes Film Festival 2022: The 22 Films Everyone Will Be Buzzing About
Stone was joined by co-stars Jesse Plemmons, Willem Dafoe, Joe Alwyn, Hong Chau, Hunter Schafer, Margaret Qualley, and Mamoudou Athie to discuss “Kinds” with the global press, but the subject kept coming back to Lanthimos.
Continue reading Emma Stone On Yorgos Lanthimos: “He’s My Muse” [Cannes] at The Playlist.
Read More: Cannes Film Festival 2022: The 22 Films Everyone Will Be Buzzing About
Stone was joined by co-stars Jesse Plemmons, Willem Dafoe, Joe Alwyn, Hong Chau, Hunter Schafer, Margaret Qualley, and Mamoudou Athie to discuss “Kinds” with the global press, but the subject kept coming back to Lanthimos.
Continue reading Emma Stone On Yorgos Lanthimos: “He’s My Muse” [Cannes] at The Playlist.
- 5/18/2024
- by Gregory Ellwood
- The Playlist
On Friday nights, IndieWire After Dark takes a feature-length beat to honor fringe cinema in the streaming age.
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: Is This What I Told Myself It Would Be?
Directed by Marjane Satrapi and written by Michael R. Perry, “The Voices” has a phenomenal trailer — snappy, stunning, and with a hunky Chinese Elvis impersonator! I would know; I’ve seen it dozens of times in the decade since Lionsgate made the movie: a feature that, up until now, I haven’t watched and will be using this week’s IndieWire After Dark to recommend to myself. Let me (us?) explain.
This buzzy Sundance breakout from 2014 — starring a sweetie pie Ryan Reynolds...
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: Is This What I Told Myself It Would Be?
Directed by Marjane Satrapi and written by Michael R. Perry, “The Voices” has a phenomenal trailer — snappy, stunning, and with a hunky Chinese Elvis impersonator! I would know; I’ve seen it dozens of times in the decade since Lionsgate made the movie: a feature that, up until now, I haven’t watched and will be using this week’s IndieWire After Dark to recommend to myself. Let me (us?) explain.
This buzzy Sundance breakout from 2014 — starring a sweetie pie Ryan Reynolds...
- 5/18/2024
- by Alison Foreman
- Indiewire
Illustrations by Maddie Fischer.As part of our Cannes 2024 coverage, we invited critics, filmmakers, and programmers to give their first impressions of the festival. Sign up for the Weekly Edit to receive exclusive reports from the Croisette straight to your inbox.Giovanni Marchini CamiaThe reconstruction of Napoléon, as seen by Abel Gance, was the first film to play at this year’s festival—after the Berlinale’s TinyHouse, this is symbolism at its most ready-made. Impossible to watch this inordinately glorious, inordinately chauvinistic film at Cannes without thinking of Thierry Frémaux, the festival world’s very own Napoleon, the man everyone loves to hate. As rumors of an impending labor strike and #MeToo bombshell crescendoed ahead of that evening’s opening ceremony, no image could have been more fitting than Napoleon braving a furious storm on a rickety fishing boat, a French flag fashioned into a sail as his only lifeline.
- 5/17/2024
- MUBI
Dabney Coleman, one of the best-known character actors of the late 20th century, has died at the age of 92. The news of his death has been confirmed by IndieWire.
In a statement obtained from his manager Jeffrey Goldberg, Coleman’s daughter Quincy wrote, “My father, Dabney Wharton Coleman, took his last earthly breath peacefully and exquisitely at 92 in his Santa Monica home on Thursday May 16th, 2024 at 1:50pm. My father crafted his time here on earth with a curious mind, a generous heart, and a soul on fire with passion, desire, and humor that tickled the funny bone of humanity. As he lived, he moved through this final act of his life with elegance, excellence and mastery. A teacher, a hero, and a king, Dabney Coleman is a gift and blessing in life and in death as his spirit will shine through his work, his loved ones and his legacy…...
In a statement obtained from his manager Jeffrey Goldberg, Coleman’s daughter Quincy wrote, “My father, Dabney Wharton Coleman, took his last earthly breath peacefully and exquisitely at 92 in his Santa Monica home on Thursday May 16th, 2024 at 1:50pm. My father crafted his time here on earth with a curious mind, a generous heart, and a soul on fire with passion, desire, and humor that tickled the funny bone of humanity. As he lived, he moved through this final act of his life with elegance, excellence and mastery. A teacher, a hero, and a king, Dabney Coleman is a gift and blessing in life and in death as his spirit will shine through his work, his loved ones and his legacy…...
- 5/17/2024
- by Christian Zilko
- Indiewire
“How can so much suffering have no meaning?”
That’s a question posed by decorated documentary filmmaker Leonard Fife in Paul Schrader’s meandering ode to death, dying, aging, and regret, “Oh, Canada.” It’s inevitably one also felt by audiences who will be left bewildered by the Oscar-nominated filmmaker’s most experimental and alienating work in some time, which loses itself in the process.
With “Oh, Canada,” Schrader splices timelines, color palettes, and aspect ratios to tell Fife’s story as a now-revered nonfiction movie-maker who fled the United States in the late 1960s for Canada to avoid the Vietnam War draft. Schrader is a gifted filmmaker who has given us so much more than “First Reformed” and “The Card Counter,” the only movies audiences of late seem to remember him by. He’s not unfamiliar with unpacking a great and morally complicated artist’s work in wildly subversive...
That’s a question posed by decorated documentary filmmaker Leonard Fife in Paul Schrader’s meandering ode to death, dying, aging, and regret, “Oh, Canada.” It’s inevitably one also felt by audiences who will be left bewildered by the Oscar-nominated filmmaker’s most experimental and alienating work in some time, which loses itself in the process.
With “Oh, Canada,” Schrader splices timelines, color palettes, and aspect ratios to tell Fife’s story as a now-revered nonfiction movie-maker who fled the United States in the late 1960s for Canada to avoid the Vietnam War draft. Schrader is a gifted filmmaker who has given us so much more than “First Reformed” and “The Card Counter,” the only movies audiences of late seem to remember him by. He’s not unfamiliar with unpacking a great and morally complicated artist’s work in wildly subversive...
- 5/17/2024
- by Ryan Lattanzio
- Indiewire
Bowen Yang realized that he couldn’t defy gravity — or sleep deprivation — when filming “Wicked.”
The “SNL” star told Vanity Fair that he found it “mentally fraying” to fly back and forth between the “Wicked” production in London and his weekly sketch series in New York City. Even “SNL” creator Lorne Michaels seemingly warned Yang against spreading himself too thin.
“This is when Lorne Michaels comes in,” Yang said. “Whatever you think about the situation, however you think it’s unique to you, however you think you might be the exception to the rule, Lorne is here to be like, ‘Actually, it might not be so good on the body for you to fly back and forth between New York and London to go shoot a movie.'”
Yang admitted that he was referencing “Wicked” as the most recent example of balancing both his TV and film obligations.
“I’ll say ‘Wicked,...
The “SNL” star told Vanity Fair that he found it “mentally fraying” to fly back and forth between the “Wicked” production in London and his weekly sketch series in New York City. Even “SNL” creator Lorne Michaels seemingly warned Yang against spreading himself too thin.
“This is when Lorne Michaels comes in,” Yang said. “Whatever you think about the situation, however you think it’s unique to you, however you think you might be the exception to the rule, Lorne is here to be like, ‘Actually, it might not be so good on the body for you to fly back and forth between New York and London to go shoot a movie.'”
Yang admitted that he was referencing “Wicked” as the most recent example of balancing both his TV and film obligations.
“I’ll say ‘Wicked,...
- 5/17/2024
- by Samantha Bergeson
- Indiewire
Once again, IndieWire reached out to the directors of photography whose feature films are premiering at the 2024 Cannes Film Festival to find out which cameras and lenses they used and — more importantly — why these were the right tools to create the look and visual language. We are delighted that more cinematographers than ever responded this year.
The following list includes both documentaries and fiction films playing throughout the festival. They run a gamut from small films that crafted their looks by making the most of the constraints on their shoots and budgets to the biggest summer blockbusters aiming for the largest (IMAX) screens. There are a healthy number of repeat collaborations between cinematographers and directors who, at this point, are used to being each others’ partners in crime and speaking the same visual language, as well as first-time partnerships where the collaboration opened up new possibilities for each. There are...
The following list includes both documentaries and fiction films playing throughout the festival. They run a gamut from small films that crafted their looks by making the most of the constraints on their shoots and budgets to the biggest summer blockbusters aiming for the largest (IMAX) screens. There are a healthy number of repeat collaborations between cinematographers and directors who, at this point, are used to being each others’ partners in crime and speaking the same visual language, as well as first-time partnerships where the collaboration opened up new possibilities for each. There are...
- 5/17/2024
- by Sarah Shachat
- Indiewire
After much hemming and hawing and a little bit of teases about his appearance, Oscar-winning actor Cillian Murphy has been confirmed for Sony’s “28 Years Later” horror thriller.
Sony chief Tom Rothman revealed the news in a new interview with Deadline. “Yes [Murphy will return], but in a surprising way and in a way that grows, let me put it that way,” Rothman said.
Continue reading Cillian Murphy Confirmed For Danny Boyle’s ‘28 Years Later’ at The Playlist.
Sony chief Tom Rothman revealed the news in a new interview with Deadline. “Yes [Murphy will return], but in a surprising way and in a way that grows, let me put it that way,” Rothman said.
Continue reading Cillian Murphy Confirmed For Danny Boyle’s ‘28 Years Later’ at The Playlist.
- 5/17/2024
- by Edward Davis
- The Playlist
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