Ari Aster, the horror maestro behind Hereditary and Midsommar, is out with Beau Is Afraid on four screens as A24 presents the film in LA (AMC Century City and Burbank) and New York, in Imax on both coasts, followed next week by a regional Imax expansion and into to a wider national rollout April 21.
The film is getting some love from Martin Scorsese, who will join Aster in conversation Monday night after an Imax showing in NYC. Opening weekend will feature Q&As with Aster and cast, which includes Nathan Lane, Stephen McKinley Henderson, Patti LuPone, Amy Ryan and Parker Posey.
The director has a dedicated fan base, and that’s invaluable in looking to break out with the specialty market still tentative compared with the Super Mario Bros-sized rebound of the broader box office. Presales indicate a strong debut.
Deadline’s review calls...
The film is getting some love from Martin Scorsese, who will join Aster in conversation Monday night after an Imax showing in NYC. Opening weekend will feature Q&As with Aster and cast, which includes Nathan Lane, Stephen McKinley Henderson, Patti LuPone, Amy Ryan and Parker Posey.
The director has a dedicated fan base, and that’s invaluable in looking to break out with the specialty market still tentative compared with the Super Mario Bros-sized rebound of the broader box office. Presales indicate a strong debut.
Deadline’s review calls...
- 4/14/2023
- by Jill Goldsmith
- Deadline Film + TV
Editors note: This review was originally published in June 2021 after its world premiere at the Cannes Film Festival. The film opens in New York on Friday and in Los Angeles on April 21.
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Beautifully upholstered and decked out with a starry cast, Everything Went Fine (Tout S’est Bien Passé) is the sort of comforting, thoroughly mainstream commercial film not often seen in competition at the Cannes Film Festival. Although the subject of euthanasia does not normally suggest a good time at the movies, French director François Ozon serves one up anyway with the help of a raft of crafty and appealing veteran actors, lush filmmaking and savvy and deft handling of the central emotional dynamic.
Shortly after family patriarch André (André Dussollier) suffers a debilitating stroke, the 85-year-old insists to his daughter Emmanuèle (Sophie Marceau) that he wants to end to it all, on his own terms. He seems something of a borderline case,...
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Beautifully upholstered and decked out with a starry cast, Everything Went Fine (Tout S’est Bien Passé) is the sort of comforting, thoroughly mainstream commercial film not often seen in competition at the Cannes Film Festival. Although the subject of euthanasia does not normally suggest a good time at the movies, French director François Ozon serves one up anyway with the help of a raft of crafty and appealing veteran actors, lush filmmaking and savvy and deft handling of the central emotional dynamic.
Shortly after family patriarch André (André Dussollier) suffers a debilitating stroke, the 85-year-old insists to his daughter Emmanuèle (Sophie Marceau) that he wants to end to it all, on his own terms. He seems something of a borderline case,...
- 4/14/2023
- by Todd McCarthy
- Deadline Film + TV
Cohen Media Group has dropped the trailer for Francois Ozon’s drama “Everything Went Fine” ahead of its theatrical release in New York on April 14 and Los Angeles on April 21, followed by a national expansion.
“Everything Went Fine” is based on the autobiographical novel by author Emmanuèle Bernheim who previously collaborated on Ozon’s screenplays for “Under The Sand,” “Swimming Pool” and “Ricky.”
The movie follows 85-year-old art collector André Bernheim (André Dussolier) who, after a debilitating stroke, demands that his daughter Emmanuèle (Sophie Marceau), help him end life on his own terms. Faced with a painful decision, Emmanuèle, with the grudging support of her younger sister Pascale (Géraldine Pailhas), begins sorting through the processes and bureaucratic hurdles necessary to fulfill her father’s final wish, as she is forced to reconcile her past with a complicated, stubborn, yet charismatic man.
Here’s the trailer:
“Everything Went Fine” also stars...
“Everything Went Fine” is based on the autobiographical novel by author Emmanuèle Bernheim who previously collaborated on Ozon’s screenplays for “Under The Sand,” “Swimming Pool” and “Ricky.”
The movie follows 85-year-old art collector André Bernheim (André Dussolier) who, after a debilitating stroke, demands that his daughter Emmanuèle (Sophie Marceau), help him end life on his own terms. Faced with a painful decision, Emmanuèle, with the grudging support of her younger sister Pascale (Géraldine Pailhas), begins sorting through the processes and bureaucratic hurdles necessary to fulfill her father’s final wish, as she is forced to reconcile her past with a complicated, stubborn, yet charismatic man.
Here’s the trailer:
“Everything Went Fine” also stars...
- 3/30/2023
- by Elsa Keslassy
- Variety Film + TV
Further new releases include ’Good Luck To You Leo Grande’ and ‘Pleasure’.
Lightyear will be hoping to blast to the top of the UK-Ireland box office this weekend, with Disney releasing the animation at 654 locations.
Pixar’s Buzz Lightyear origin story has had a lukewarm reception from critics, but the Angus MacLane-directed title will hope to capitalise on the enduring influence of the Toy Story franchise. When Toy Story 4 was released in 2019, it broke a record for the highest ever three-day opening for an animated title in the UK, opening in 668 venues, and taking £13.3m.
Chris Evans takes...
Lightyear will be hoping to blast to the top of the UK-Ireland box office this weekend, with Disney releasing the animation at 654 locations.
Pixar’s Buzz Lightyear origin story has had a lukewarm reception from critics, but the Angus MacLane-directed title will hope to capitalise on the enduring influence of the Toy Story franchise. When Toy Story 4 was released in 2019, it broke a record for the highest ever three-day opening for an animated title in the UK, opening in 668 venues, and taking £13.3m.
Chris Evans takes...
- 6/17/2022
- by Mona Tabbara
- ScreenDaily
Sophie Marceau: 'What really attracted me was the way of treating a difficult subject in a completely pragmatic and practical way' Photo: UniFrance For someone who started out as an adolescent teen icon, bursting with life, in La Boum back in the day Sophie Marceau has been spending rather a lot of time recently contemplating death.
She has the perfect excuse: she plays one of two sisters (the other is Géraldine Pailhas) whose 85-year-old father (André Dussollier) ask them to help him to end his life in François Ozon’s Everything Went Fine (Tout c’est bien passé), which is screening at Glasgow Film Festival on March 11 and 12 and, as part of New York's Rendez-vous with French Cinema on March 7.
Ozon was able to persuade Marceau, 55, to return to the big screen after a lengthy absence to join the cast of his adaptation of the autobiographical book by Emmanuèle Bernheim,...
She has the perfect excuse: she plays one of two sisters (the other is Géraldine Pailhas) whose 85-year-old father (André Dussollier) ask them to help him to end his life in François Ozon’s Everything Went Fine (Tout c’est bien passé), which is screening at Glasgow Film Festival on March 11 and 12 and, as part of New York's Rendez-vous with French Cinema on March 7.
Ozon was able to persuade Marceau, 55, to return to the big screen after a lengthy absence to join the cast of his adaptation of the autobiographical book by Emmanuèle Bernheim,...
- 3/2/2022
- by Richard Mowe
- eyeforfilm.co.uk
Cohen Media Group and Curzon have jointly acquired all U.S. and U.K. distribution rights to “Everything Went Fine,” Francois Ozon’s film with Sophie Marceau, which just world-premiered in competition at Cannes and earned a warm critical welcome.
The deal was negotiated by Cmg senior VP Robert Aaronson, Curzon Artificial Eye’s managing director Louisa Dent and Sébasten Beffa and Nicolas Brigaud-Robert at Playtime.
“Everything Went Fine” marks Marceau’s first time working with Ozon, one of France’s most critically laureled helmers. The drama is based Emmanuèle Bernheim’s novel “Everything Went Well” and centers on a woman as she is confronted with her father’s declining health following a stroke. Sick and half-paralyzed in his hospital bed, André asks Emmanuèle to help him end his life. The film explores the father-daughter relationship.
Written and directed by Ozon, “Everything Went Fine” also stars Géraldine Pailhas, Charlotte Rampling,...
The deal was negotiated by Cmg senior VP Robert Aaronson, Curzon Artificial Eye’s managing director Louisa Dent and Sébasten Beffa and Nicolas Brigaud-Robert at Playtime.
“Everything Went Fine” marks Marceau’s first time working with Ozon, one of France’s most critically laureled helmers. The drama is based Emmanuèle Bernheim’s novel “Everything Went Well” and centers on a woman as she is confronted with her father’s declining health following a stroke. Sick and half-paralyzed in his hospital bed, André asks Emmanuèle to help him end his life. The film explores the father-daughter relationship.
Written and directed by Ozon, “Everything Went Fine” also stars Géraldine Pailhas, Charlotte Rampling,...
- 7/10/2021
- by Elsa Keslassy
- Variety Film + TV
Ah, François Ozon. He’s like that local artisan whose atelier you walk past and hope that he never retires or shuts up shop despite the fact that you don’t necessarily shop there. For Ozon is a true craftsman, quietly fashioning exquisite pieces that are beautifully made, long lasting and highly polished.
The French director is in Cannes in competition with Tout s’est bien passé, a very French tale focussing on a middle-aged woman Manue (Sophie Marceau) dealing with her aged and difficult parents with the aid of her sister. The story opens with author Manue seated at her desk when she receives a phone call from her sister Pascale (Géraldine Pailhas): their irascible and tyrannical father André (André Dussollier) has had a stroke and is in the hospital. It transpires that dad is a bit of handful and his daughters are in thrall to him, always doing his bidding.
The French director is in Cannes in competition with Tout s’est bien passé, a very French tale focussing on a middle-aged woman Manue (Sophie Marceau) dealing with her aged and difficult parents with the aid of her sister. The story opens with author Manue seated at her desk when she receives a phone call from her sister Pascale (Géraldine Pailhas): their irascible and tyrannical father André (André Dussollier) has had a stroke and is in the hospital. It transpires that dad is a bit of handful and his daughters are in thrall to him, always doing his bidding.
- 7/9/2021
- by Jo-Ann Titmarsh
- HeyUGuys.co.uk
One France’s most prolific contemporary filmmakers, Francois Ozon reliably turns out a film per year, with each outing a zig to the previous year’s zag.
At his last Cannes premiere in 2017, Ozon scandalized the festival audience with his delightful, defiantly trashy thriller “Double Lover,” a film that opened with a kind of mission statement match-cut — cutting from a gynecologists’ view of a vagina to an ophthalmologists’ view of an eye — and only went bolder from there.
After making two more films since then, he returned to the Cannes Film Festival in the Main Competition section this year with “Everything Went Fine,” a subdued and deliberately unflashy euthanasia tale that Cannes audiences greeted with polite applause before shuffling out of the screening unlikely to speak of it with any real passion — and that might be partly by design.
Adapting author Emmanuèle Bernheim’s memoir of the same name, Ozon...
At his last Cannes premiere in 2017, Ozon scandalized the festival audience with his delightful, defiantly trashy thriller “Double Lover,” a film that opened with a kind of mission statement match-cut — cutting from a gynecologists’ view of a vagina to an ophthalmologists’ view of an eye — and only went bolder from there.
After making two more films since then, he returned to the Cannes Film Festival in the Main Competition section this year with “Everything Went Fine,” a subdued and deliberately unflashy euthanasia tale that Cannes audiences greeted with polite applause before shuffling out of the screening unlikely to speak of it with any real passion — and that might be partly by design.
Adapting author Emmanuèle Bernheim’s memoir of the same name, Ozon...
- 7/7/2021
- by Ben Croll
- The Wrap
François Ozon follows his darkly sensual melodrama about queer first love, Summer of 85, with a pivot back to sober dramatic territory in Everything Went Fine, which doubles as a gesture of gratitude toward the late novelist Emmanuèle Bernheim, his script collaborator on Under the Sand, Swimming Pool and 5×2. Taking a refreshingly frank, uncomplicated attitude to its fraught issues, the film stars Sophie Marceau in a compellingly grounded performance as Bernheim, asked to take on a role of tremendous moral and emotional weight by a man with whom she has always had a somewhat thorny relationship and yet finds impossible to deny.
The other actor who elevates the intimate drama is veteran André Dussollier as Emmanuèle’s father, André Bernheim, a cultured art collector whose vitality continues to peek through his distress even after the stroke that leaves him semi-paralyzed. He makes the unbending decision to end his life rather than...
The other actor who elevates the intimate drama is veteran André Dussollier as Emmanuèle’s father, André Bernheim, a cultured art collector whose vitality continues to peek through his distress even after the stroke that leaves him semi-paralyzed. He makes the unbending decision to end his life rather than...
- 7/7/2021
- by David Rooney
- The Hollywood Reporter - Movie News
Early in “Everything Went Fine,” ailing 85-year-old André asks — instructs, really — his daughter Emmanuèle to help him end his life. After a brief period of understandable panic, she takes the assignment more or less in stride, give or take the odd cry behind closed bathroom doors. “Why would your father ask this of his daughter?” her bewildered husband asks her in bed one night. “That’s why, because I’m his daughter,” she replies, seemingly amazed he has to ask. Thus does François Ozon’s tender-hearted but cool-headed euthanasia drama effectively divide the world into people who understand this and people who don’t, while remaining sympathetic to all parties.
Adapted from French writer Emmanuèle Bernheim’s memoir of her father’s death, this elegantly written, persuasively performed drama finds the ever-unpredictable Ozon in his plainest, most pragmatic gear as a filmmaker. The results are cinematically low-key, but a tony cast of familiar faces,...
Adapted from French writer Emmanuèle Bernheim’s memoir of her father’s death, this elegantly written, persuasively performed drama finds the ever-unpredictable Ozon in his plainest, most pragmatic gear as a filmmaker. The results are cinematically low-key, but a tony cast of familiar faces,...
- 7/7/2021
- by Guy Lodge
- Variety Film + TV
François Ozon follows his darkly sensual melodrama about queer first love, Summer of 85, with a pivot back to sober dramatic territory in Everything Went Fine, which doubles as a gesture of gratitude toward the late novelist Emmanuèle Bernheim, his script collaborator on Under the Sand, Swimming Pool and 5×2. Taking a refreshingly frank, uncomplicated attitude to its fraught issues, the film stars Sophie Marceau in a compellingly grounded performance as Bernheim, asked to take on a role of tremendous moral and emotional weight by a man with whom she has always had a somewhat thorny relationship and yet finds impossible to deny.
The other ...
The other ...
François Ozon follows his darkly sensual melodrama about queer first love, Summer of 85, with a pivot back to sober dramatic territory in Everything Went Fine, which doubles as a gesture of gratitude toward the late novelist Emmanuèle Bernheim, his script collaborator on Under the Sand, Swimming Pool and 5×2. Taking a refreshingly frank, uncomplicated attitude to its fraught issues, the film stars Sophie Marceau in a compellingly grounded performance as Bernheim, asked to take on a role of tremendous moral and emotional weight by a man with whom she has always had a somewhat thorny relationship and yet finds impossible to deny.
The other ...
The other ...
Francois Ozon, one of France’s most prestigious and prolific filmmakers, will next direct Isabelle Adjani and Denis Menochet (“Custody”) in “Petra Von Kant,” a film adaptation of Rainer Werner Fassbinder’s cult play “The Bitter Tears.”
“Petra Von Kant” will star Menochet as Fassbinder, while Adjani will play the German director’s muse, according to Satellifax, which was first to report the news.
“The Bitter Tears” was previously adapted into a film by Fassbinder himself in 1972. Titled “The Bitter Tears of Petra von Kant,” the film boasted an all-female cast with Margit Carstensen playing Petra von Kant, a prominent fashion designer with narcissistic tendencies.
Ozon previously adapted Fassbinder’s play “Water Drops on Burning Rocks” into a 2000 film with Ludivine Sagnier, which competed at the Berlinale.
“Petra Von Kant” will be produced by Ozon’s own production company, Foz Productions. The shoot is expected to kick off this week.
“Petra Von Kant” will star Menochet as Fassbinder, while Adjani will play the German director’s muse, according to Satellifax, which was first to report the news.
“The Bitter Tears” was previously adapted into a film by Fassbinder himself in 1972. Titled “The Bitter Tears of Petra von Kant,” the film boasted an all-female cast with Margit Carstensen playing Petra von Kant, a prominent fashion designer with narcissistic tendencies.
Ozon previously adapted Fassbinder’s play “Water Drops on Burning Rocks” into a 2000 film with Ludivine Sagnier, which competed at the Berlinale.
“Petra Von Kant” will be produced by Ozon’s own production company, Foz Productions. The shoot is expected to kick off this week.
- 3/17/2021
- by Elsa Keslassy
- Variety Film + TV
Film Comment passes along word that Frederick Wiseman's been seen shooting "at the flagship 42nd Street branch of the New York Public Library." We're left to draw our own conclusions. Also in the works: Asghar Farhadi is currently shooting Forushande in Teheran. Alain Cavalier is adapting Emmanuèle Bernheim's 2013 novel Tout s’est bien passé. Sergei Loznitsa is currently at work on both a documentary, Austerlitz, and a narrative feature, A Gentle Creature. Hany Abu-Assad is planning to work with Ari Folman. Naomi Watts has joined David Lynch's Twin Peaks revival. Michael Pitt, Imogen Poots, Isabelle Huppert and Willem Dafoe will star in art-theft drama The Sleeping Shepherd. And Zach Galifianakis, Seth Rogen and Bill Hader will star in the space-set comedy The Something. » - David Hudson...
- 2/3/2016
- Keyframe
Film Comment passes along word that Frederick Wiseman's been seen shooting "at the flagship 42nd Street branch of the New York Public Library." We're left to draw our own conclusions. Also in the works: Asghar Farhadi is currently shooting Forushande in Teheran. Alain Cavalier is adapting Emmanuèle Bernheim's 2013 novel Tout s’est bien passé. Sergei Loznitsa is currently at work on both a documentary, Austerlitz, and a narrative feature, A Gentle Creature. Hany Abu-Assad is planning to work with Ari Folman. Naomi Watts has joined David Lynch's Twin Peaks revival. Michael Pitt, Imogen Poots, Isabelle Huppert and Willem Dafoe will star in art-theft drama The Sleeping Shepherd. And Zach Galifianakis, Seth Rogen and Bill Hader will star in the space-set comedy The Something. » - David Hudson...
- 2/3/2016
- Fandor: Keyframe
François Ozon seems to be fascinated by what makes writers tick. And he loves to prod the viewer to reconsider his/her mental evaluation of fiction and reality as they watch his later films.
Many viewers are likely to initially consider the superb tale of In the House to be solely Ozon’s creative work; it is not. In the House appears to be almost totally leaning on the product of a contemporary Spanish playwright Juan Mayorga titled The Boy in the Last Row, if one goes by the reviews of the play. It is, thus, not a coincidence that the French film went on to win the well-deserved Golden Shell (the grand prize) and the Jury prize for Best Screenplay at the San Sebastian film Festival in Spain. Then why is the film important, if almost all the credit rests with the play on which the film is built?...
Many viewers are likely to initially consider the superb tale of In the House to be solely Ozon’s creative work; it is not. In the House appears to be almost totally leaning on the product of a contemporary Spanish playwright Juan Mayorga titled The Boy in the Last Row, if one goes by the reviews of the play. It is, thus, not a coincidence that the French film went on to win the well-deserved Golden Shell (the grand prize) and the Jury prize for Best Screenplay at the San Sebastian film Festival in Spain. Then why is the film important, if almost all the credit rests with the play on which the film is built?...
- 11/5/2014
- by Jugu Abraham
- DearCinema.com
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