The 2024 Cannes Film Festival is still going full steam, with deals and screenings galore. We’ve got the first responses to some highly anticipated projects including the new films from Emma Stone and Nicolas Cage, a filmmaker weighing in on the Harvey Weinstein conviction reversal and a studio going all in on a single filmmaker.
“Kinds of Kindness” Confounds
Yorgos Lanthimos, just a few months since his bizarre, female-empowerment madcap science fiction movie “Poor Things” scooped up four Oscars (including Best Actress for Emma Stone), debuted his new film, “Kinds of Kindness.”
The movie reunites the filmmaker with his frequent writing partner, Efthimis Filippo, and his muse, Emma Stone. The movie is not a straightforward narrative but an anthology film comprised of three loosely connected storylines, where the actors play different characters in each segment. (This is Searchlight’s big summer movie; it’s going up against the new “Quiet Place” prequel.
“Kinds of Kindness” Confounds
Yorgos Lanthimos, just a few months since his bizarre, female-empowerment madcap science fiction movie “Poor Things” scooped up four Oscars (including Best Actress for Emma Stone), debuted his new film, “Kinds of Kindness.”
The movie reunites the filmmaker with his frequent writing partner, Efthimis Filippo, and his muse, Emma Stone. The movie is not a straightforward narrative but an anthology film comprised of three loosely connected storylines, where the actors play different characters in each segment. (This is Searchlight’s big summer movie; it’s going up against the new “Quiet Place” prequel.
- 5/18/2024
- by Drew Taylor
- The Wrap
The latest Yorgos Lanthimos / Emma Stone team-up, a film called Kinds of Kindness (previously known as And), is set to reach theatres on June 21st – but first, it’s having its premiere at the Cannes Film Festival, which is now underway. The first reviews of Kinds of Kindness are now arriving online, and they’re describing this 165 minute “triptych fable” as dark, bizarre, insidious, intriguing, brilliant, bonkers, disturbing, puzzling, funny, surreal, creepy, mind-bending, twisted, and innovative. We have rounded up some of them below led by one from our own Eric Walkuski!
Our man @ericwalkuski just caught #KindsofKindness: Yorgos Lanthimos' Kinds of Kindness defies easy description; it's a trilogy of morbid tales that will beguile some, repel others. Uneven as a whole, the film still has enough shock value and absurd dark humor to keep you on your…
— JoBlo.com (@joblocom) May 17, 2024
Vulture‘s Bilge Ebiri says, Lanthimos can “reclaim his...
Our man @ericwalkuski just caught #KindsofKindness: Yorgos Lanthimos' Kinds of Kindness defies easy description; it's a trilogy of morbid tales that will beguile some, repel others. Uneven as a whole, the film still has enough shock value and absurd dark humor to keep you on your…
— JoBlo.com (@joblocom) May 17, 2024
Vulture‘s Bilge Ebiri says, Lanthimos can “reclaim his...
- 5/17/2024
- by Cody Hamman
- JoBlo.com
A24 has acquired the domestic theatrical rights to “Sing Sing,” starring Colman Domingo, according to an individual with knowledge of the project.
The film premiered at the Toronto Film Festival and A24 is planning a 2024 theatrical release. The deal is reported to be in the seven figures.
In his review of the film, TheWrap’s Steve Pond wrote: “Written and directed by Greg Kwedar (‘Jockey’), the indie drama is a curious concoction that finds veteran actor Domingo playing a would-be playwright in a theater program at Sing Sing Correctional Facility; his fellow actors, with the notable exception of ‘Sound of Metal’ Oscar nominee Paul Raci, are, for the most part, former prisoners who took place in that actual program and are billed in the credits as playing themselves. The result isn’t seamless or slick, but there’s an urgency and a grit to it, and a sense of lives lost and occasionally regained.
The film premiered at the Toronto Film Festival and A24 is planning a 2024 theatrical release. The deal is reported to be in the seven figures.
In his review of the film, TheWrap’s Steve Pond wrote: “Written and directed by Greg Kwedar (‘Jockey’), the indie drama is a curious concoction that finds veteran actor Domingo playing a would-be playwright in a theater program at Sing Sing Correctional Facility; his fellow actors, with the notable exception of ‘Sound of Metal’ Oscar nominee Paul Raci, are, for the most part, former prisoners who took place in that actual program and are billed in the credits as playing themselves. The result isn’t seamless or slick, but there’s an urgency and a grit to it, and a sense of lives lost and occasionally regained.
- 9/15/2023
- by Umberto Gonzalez
- The Wrap
Netflix has acquired Anna Kendrick’s directorial debut following a buzzy premiere for the acclaimed dark dramedy at the Toronto Film Festival, TheWrap has learned. “Woman of the Hour” is based on a true story concerning a serial killer who appeared as a guest on a dating game show.
The film will stream on Netflix in the United States, France, Italy, Monaco, San Marino, Vatican City, Andorra, Benelux, Japan, Macau, South Korea, Switzerland, Hungary, Hong Kong, Romania, Bulgaria, Indonesia, Singapore, Philippines, West Indies and their territories & possessions.
It marks the first big-deal acquisition at this year’s TIFF, with Deadline reporting an $11 million pricetag. This marks, thus far, an exception to the rule this festival season, which has been low on sales. As previously discussed in TheWrap, this is partially due to uncertainty concerning the strikes, as well as hesitancy from studios and streamers to buy films made or promoted amid interim agreements.
The film will stream on Netflix in the United States, France, Italy, Monaco, San Marino, Vatican City, Andorra, Benelux, Japan, Macau, South Korea, Switzerland, Hungary, Hong Kong, Romania, Bulgaria, Indonesia, Singapore, Philippines, West Indies and their territories & possessions.
It marks the first big-deal acquisition at this year’s TIFF, with Deadline reporting an $11 million pricetag. This marks, thus far, an exception to the rule this festival season, which has been low on sales. As previously discussed in TheWrap, this is partially due to uncertainty concerning the strikes, as well as hesitancy from studios and streamers to buy films made or promoted amid interim agreements.
- 9/12/2023
- by Scott Mendelson
- The Wrap
This year’s Academy Awards could be decided by a few votes among the Academy’s 9,000 or so members. No category is as down-to-the-wire as Best Actress, with experts making the case for any of the nominees to prevail, as four of the women have evenly split the precursor awards. TheWrap’s Steve Pond is forecasting Carey Mulligan of “Promising Young Woman” to win, but writes, “Does anybody have a four-sided coin I can flip?”
In 1969, the Best Actress category was host to the most spectacular tie in Oscar history, with two of the most famous performers of the twentieth century each winning the statuette. Here are the six times that ties have occurred since Oscar’s beginning. A seventh could be right on track for this year.
1932: Best Actor
Fredric March in “Dr. Jekyll and Mr. Hyde” and Wallace Beery in “The Champ”
The 5th Annual Academy Awards...
In 1969, the Best Actress category was host to the most spectacular tie in Oscar history, with two of the most famous performers of the twentieth century each winning the statuette. Here are the six times that ties have occurred since Oscar’s beginning. A seventh could be right on track for this year.
1932: Best Actor
Fredric March in “Dr. Jekyll and Mr. Hyde” and Wallace Beery in “The Champ”
The 5th Annual Academy Awards...
- 3/25/2022
- by Joe McGovern
- The Wrap
In the 94-year history of the Oscars, there is only one category, besides Best Actor and Best Supporting Actor, that has never been won by a woman. That would be Best Cinematography, which honors a movie’s lighting, framing and camerawork.
Those are hardly gender-specific achievements, though the Oscars, for better or worse, are a reflection of the opportunities offered in the film industry. And as such, there are deep institutional reasons why this specific category has such a poor track record for women.
The trivia stat could change on Sunday night. Ari Wegner, the Australian cinematographer of Jane Campion’s nomination-leader “The Power of the Dog,” is nominated for her thoughtful, intuitive work on the film. TheWrap’s Steve Pond predicts that Wegner will take home the trophy, giving her the edge over “Dune” Dp Greig Fraser (the cinematographer of Campion’s previous movie “Bright Star”), who has scored the BAFTA and ASC precursors.
Those are hardly gender-specific achievements, though the Oscars, for better or worse, are a reflection of the opportunities offered in the film industry. And as such, there are deep institutional reasons why this specific category has such a poor track record for women.
The trivia stat could change on Sunday night. Ari Wegner, the Australian cinematographer of Jane Campion’s nomination-leader “The Power of the Dog,” is nominated for her thoughtful, intuitive work on the film. TheWrap’s Steve Pond predicts that Wegner will take home the trophy, giving her the edge over “Dune” Dp Greig Fraser (the cinematographer of Campion’s previous movie “Bright Star”), who has scored the BAFTA and ASC precursors.
- 3/24/2022
- by Joe McGovern
- The Wrap
Sense of place is a major theme in the Best Documentary category at this year’s Oscars. The five nominated movies span the globe from India to New York to China and Afghanistan, and the filmmakers involved with each movie joined TheWrap’s awards editor Steve Pond for an engaging conversation about making their movies.
Pond spoke with Ahmir “Questlove” Thompson, director of “Summer of Soul;” Jessica Kingdon, director of “Ascension;” Stanley Nelson, director of “Attica;” Monica Hellström, producer of Jonas Poher Rasmussen’s “Flee;” and Sushmit Ghosh, director (with Rintu Thomas) of “Writing with Fire.” All are first time Oscar nominees.
Questlove, a frontman of The Roots, explained that he approached directing “Summer of Soul” with a little trepidation, but was energized by the chance to document the 1969 Harlem Cultural Festival, an often overlooked cultural moment.
“The thought that something so precious could be discarded, like an uneaten hot dog at a carnival,...
Pond spoke with Ahmir “Questlove” Thompson, director of “Summer of Soul;” Jessica Kingdon, director of “Ascension;” Stanley Nelson, director of “Attica;” Monica Hellström, producer of Jonas Poher Rasmussen’s “Flee;” and Sushmit Ghosh, director (with Rintu Thomas) of “Writing with Fire.” All are first time Oscar nominees.
Questlove, a frontman of The Roots, explained that he approached directing “Summer of Soul” with a little trepidation, but was energized by the chance to document the 1969 Harlem Cultural Festival, an often overlooked cultural moment.
“The thought that something so precious could be discarded, like an uneaten hot dog at a carnival,...
- 3/17/2022
- by Joe McGovern
- The Wrap
“Belfast” is loosely based on Kenneth Branagh’s childhood and follows a young boy (played by newcomer Jude Hill) in Belfast, Northern Ireland at the beginning of The Troubles in 1969.
Branagh recalls being uprooted from Northern Ireland and moving to England with his family.
“I think, I never really got over being uprooted, fairly savagely, along with everybody else in that part of the world from whatever their previous way of life had been into one where we were on a sort of code red high alert for a life changed by the conflict that began to be expressed very explicitly between the Catholic and Protestant population, at least in its extreme elements,” Branagh told Steve Pond as part of TheWrap’s screening series. “And into that mix came the British military. And this awful period, this dark and tragic period of the troubles began.”
Branagh spoke with TheWrap alongside Ciarán Hinds,...
Branagh recalls being uprooted from Northern Ireland and moving to England with his family.
“I think, I never really got over being uprooted, fairly savagely, along with everybody else in that part of the world from whatever their previous way of life had been into one where we were on a sort of code red high alert for a life changed by the conflict that began to be expressed very explicitly between the Catholic and Protestant population, at least in its extreme elements,” Branagh told Steve Pond as part of TheWrap’s screening series. “And into that mix came the British military. And this awful period, this dark and tragic period of the troubles began.”
Branagh spoke with TheWrap alongside Ciarán Hinds,...
- 3/17/2022
- by Umberto Gonzalez
- The Wrap
Showtime Documentary Films have acquired worldwide rights to “Nothing Compares,” the documentary about Sinéad O’Connor that premiered at the virtual 2022 Sundance Film Festival, Vinnie Malhotra, Executive Vice President, Nonfiction Programming, Showtime Networks Inc. announced on Tuesday.
“Nothing Compares” was directed by Kathryn Ferguson in feature directorial debut, and was an official selection in the World Cinema Documentary Competition at the Sundance Film Festival last week.
Showtime is planning a theatrical release later this year in the U.S., UK and Ireland ahead of the premiere in the U.S., and its international partner streaming platforms later this year.
“When we began making this documentary four years ago, a key objective was that we would one day be able to share the film with audiences around the world, and to celebrate Sinéad’s music and artistry with fans both old and new,” Ferguson said in a statement. “We’re delighted to...
“Nothing Compares” was directed by Kathryn Ferguson in feature directorial debut, and was an official selection in the World Cinema Documentary Competition at the Sundance Film Festival last week.
Showtime is planning a theatrical release later this year in the U.S., UK and Ireland ahead of the premiere in the U.S., and its international partner streaming platforms later this year.
“When we began making this documentary four years ago, a key objective was that we would one day be able to share the film with audiences around the world, and to celebrate Sinéad’s music and artistry with fans both old and new,” Ferguson said in a statement. “We’re delighted to...
- 2/1/2022
- by Umberto Gonzalez
- The Wrap
Solstice Studios has acquired worldwide rights to the Mark Wahlberg drama “Good Joe Bell” for $20 million, an individual with knowledge of the sale told TheWrap.
The film also stars Reid Miller, Connie Britton and Gary Sinise. Solstice aims to release it in theaters for awards season.
“Good Joe Bell,” which made its premiere at the Toronto International Film Festival, is based on a true story of a man who travels by foot across the country to educate about the dangers of bullying in high school after his gay son experiences abuse from his classmates.
TheWrap’s Steve Pond wrote in his review for “Good Joe Bell” that Wahlberg “gives an effective Everyman performance and that it’s an effective tearjerker, even if it does not have the impact of the screenwriters’ ‘Brokeback Mountain.'”
“An open-hearted, unapologetically emotional story of a man struggling to come to terms with what happened...
The film also stars Reid Miller, Connie Britton and Gary Sinise. Solstice aims to release it in theaters for awards season.
“Good Joe Bell,” which made its premiere at the Toronto International Film Festival, is based on a true story of a man who travels by foot across the country to educate about the dangers of bullying in high school after his gay son experiences abuse from his classmates.
TheWrap’s Steve Pond wrote in his review for “Good Joe Bell” that Wahlberg “gives an effective Everyman performance and that it’s an effective tearjerker, even if it does not have the impact of the screenwriters’ ‘Brokeback Mountain.'”
“An open-hearted, unapologetically emotional story of a man struggling to come to terms with what happened...
- 9/19/2020
- by Brian Welk
- The Wrap
Werner Herzog says in his new film “Fireball: Visitors From Darker Worlds” that to be a scientist you need a sense of wonder. That’s a quality that’s been true of just about all of Herzog’s documentaries, and in researching the science of meteorites with Clive Oppenheimer, he aimed to capture the beauty that scientists feel when exploring the unknown.
“Fireball” melds the science and mathematics of meteorites and asteroids with the culture, religion and mythologies that have grown over millennia out of this fascination with these ancient objects from outer space. And by teaming up with Oppenheimer as they did on “Encounters at the End of the World,” Herzog asks bigger, more spiritual questions than just wondering where space rocks came from.
“Clive never has a boring moment in him, and it was very visual, very beautiful, but I knew it had to do with science, but with the awe of discovery,...
“Fireball” melds the science and mathematics of meteorites and asteroids with the culture, religion and mythologies that have grown over millennia out of this fascination with these ancient objects from outer space. And by teaming up with Oppenheimer as they did on “Encounters at the End of the World,” Herzog asks bigger, more spiritual questions than just wondering where space rocks came from.
“Clive never has a boring moment in him, and it was very visual, very beautiful, but I knew it had to do with science, but with the awe of discovery,...
- 9/16/2020
- by Brian Welk
- The Wrap
Idris Elba and producer Lee Daniels were drawn to “Concrete Cowboy” because of writer and director Ricky Staub, but Jharrel Jerome wanted to be a part of the film because of how his character disrupts stereotypes.
“I think the challenge was making sure I had the arc along in the right way and making sure that at the beginning you don’t understand who [my character] is because that’s how it is in the real world,” Jerome told TheWrap’s Steve Pond. “When you look at someone who may be considered a drug dealer or a gangster or someone who is a thug, you don’t stop to see what else he is and you don’t stop to see why he is doing what he is doing or what got him there… The challenge was allowing the truth to shine slowly but surely so that hopefully next time you see...
“I think the challenge was making sure I had the arc along in the right way and making sure that at the beginning you don’t understand who [my character] is because that’s how it is in the real world,” Jerome told TheWrap’s Steve Pond. “When you look at someone who may be considered a drug dealer or a gangster or someone who is a thug, you don’t stop to see what else he is and you don’t stop to see why he is doing what he is doing or what got him there… The challenge was allowing the truth to shine slowly but surely so that hopefully next time you see...
- 9/15/2020
- by Beatrice Verhoeven
- The Wrap
Like so many children of the ’80s, David Oyelowo had a passion for fantasy coming-of-age films like “The Goonies” and “E.T.,” but lamented that fewer of those films are being made these days. Now he has a chance to rectify that with “The Water Man,” his directorial debut which is premiering at the 2020 Toronto International Film Festival.
“I was only going to be starring and producing it initially, but we actually lost our original director and it was Emma Needell, who wrote the film and worked with us on developing the film for four years who said ‘I think you should be the one to make this,'” Oyelowo told TheWrap’s Steve Pond.
“The Water Man” stars Lonnie Chavis as a boy whose mother (Rosario Dawson) has been diagnosed with terminal cancer. At a loss for what to do next, he goes in search of the fabled Water Man,...
“I was only going to be starring and producing it initially, but we actually lost our original director and it was Emma Needell, who wrote the film and worked with us on developing the film for four years who said ‘I think you should be the one to make this,'” Oyelowo told TheWrap’s Steve Pond.
“The Water Man” stars Lonnie Chavis as a boy whose mother (Rosario Dawson) has been diagnosed with terminal cancer. At a loss for what to do next, he goes in search of the fabled Water Man,...
- 9/15/2020
- by Jeremy Fuster
- The Wrap
Regina King is adding “director” to her beefy resume that already includes impressive acting roles that earned her an Oscar, three Emmys and a Golden Globe — now she’s set to unveil her feature directorial debut with “One Night in Miami,” which is premiering at TIFF 2020.
King discussed the film with TheWrap’s Steve Pond alongside her four stars, Kingsley Ben-Adir, Eli Goree, Aldis Hodge and Leslie Odom Jr., who play a quartet of Black icons: Malcolm X, Cassius Clay (later known as Muhammad Ali) Malcolm X, Jim Brown and Sam Cooke respectively. Based on a stage play by Kemp Powers, the film tells a fictional story of the four men meeting at a Miami hotel in February 1964 shortly after Clay defeated Sonny Liston in a legendary upset to become boxing’s world heavyweight champion.
The dialogue in the play, penned by Kemp Powers, was what initially drew King to the project.
King discussed the film with TheWrap’s Steve Pond alongside her four stars, Kingsley Ben-Adir, Eli Goree, Aldis Hodge and Leslie Odom Jr., who play a quartet of Black icons: Malcolm X, Cassius Clay (later known as Muhammad Ali) Malcolm X, Jim Brown and Sam Cooke respectively. Based on a stage play by Kemp Powers, the film tells a fictional story of the four men meeting at a Miami hotel in February 1964 shortly after Clay defeated Sonny Liston in a legendary upset to become boxing’s world heavyweight champion.
The dialogue in the play, penned by Kemp Powers, was what initially drew King to the project.
- 9/14/2020
- by Lawrence Yee
- The Wrap
“Wendy,” Benh Zeitlin’s riff on the iconic Peter Pan tale, was something he dreamed about making his entire life. “Me and my sister Eliza, who I wrote the film with, really dreamed about making this film our entire lives, and it evolved as we grew up,” Zeitlin told TheWrap’s Steve Pond at the Sundance Film Festival. “I think that when we looked back at all of our games we played as children, where you were in a world and when you became 13 you were out — you were kicked out of it. In our childhood world, you know, we looked at adults and we just thought, how could that happen to us? What are we gonna lose that’s going turn us into who we are now, which is wild and free and imaginative and what’s gonna turn us into people that we don’t recognize? People who are destroying the planet,...
- 3/2/2020
- by Beatrice Verhoeven
- The Wrap
As with every year, the 2020 nominees for the Oscars’ short film categories cover a wide range of topics, but as their creators noted at TheWrap and ShortsTV’s showcase, they are all connected by how they drew their inspiration from real-life encounters.
TheWrap awards editor Steve Pond spoke on Monday with directors and producers of the five nominated films in the Best Live Action Short category, as well as Siqi Song, director of the Best Animated Short nominee “Sister.” Song’s stop-motion animated film tells the story of a boy sharing memories of living with his younger sister…though it comes with a rug-pull twist rooted in Song’s personal connection to China’s one-child policy.
“I was born and raised in China, and I was a younger sibling to an older brother,” Song said. “My parents told me that it was against the law to have more than one...
TheWrap awards editor Steve Pond spoke on Monday with directors and producers of the five nominated films in the Best Live Action Short category, as well as Siqi Song, director of the Best Animated Short nominee “Sister.” Song’s stop-motion animated film tells the story of a boy sharing memories of living with his younger sister…though it comes with a rug-pull twist rooted in Song’s personal connection to China’s one-child policy.
“I was born and raised in China, and I was a younger sibling to an older brother,” Song said. “My parents told me that it was against the law to have more than one...
- 1/29/2020
- by Jeremy Fuster
- The Wrap
“The Cave” director Feras Fayyad has arrived in the United States after dealing with a number of visa and family issues in recent weeks, National Geographic shared on Monday morning. The Syrian filmmaker made it to the U.S. on Sunday — exactly two weeks before the Academy Awards, where “The Cave” is nominated for Best Documentary Feature.
“The outpouring of support from the documentary and entertainment community to help us in our efforts to have ‘The Cave’s’ director Feras Fayyad return to the U.S. has been overwhelming,” National Geographic said in a statement. “After weeks of turmoil and struggle and obstacles no one should have to endure, we can report that Feras arrived safely this evening in Los Angeles.”
Fayyad had struggled to gain a visa into the U.S. until Sunday and missed several industry events this month as a result. He was unable to attend the...
“The outpouring of support from the documentary and entertainment community to help us in our efforts to have ‘The Cave’s’ director Feras Fayyad return to the U.S. has been overwhelming,” National Geographic said in a statement. “After weeks of turmoil and struggle and obstacles no one should have to endure, we can report that Feras arrived safely this evening in Los Angeles.”
Fayyad had struggled to gain a visa into the U.S. until Sunday and missed several industry events this month as a result. He was unable to attend the...
- 1/27/2020
- by Sean Burch
- The Wrap
Though the Golden Bear-winning Turkish filmmaker Semih Kaplanoglu is listed as the director on his latest drama “Commitment,” Kaplanoglu says the real person calling the shots on set was still in diapers.
Yes, one of the stars and most important components to “Commitment” was a young baby no more than 1 year old named Zeynep. Kaplanoglu referred to the young girl as the “hero” of the film and hopes that the movie will become a great memory for her when she’s old enough to watch it.
“The real director of the movie was the baby,” Kaplanoglu told TheWrap’s Steve Pond following a screening of the film Monday night via a translator. “The baby’s emotions, she enlightened our way, and the way she was trying to communicate with us without any words directed my story and my movie.”
Also Read: 'Spider' Director Left Chile Just Before Political...
Yes, one of the stars and most important components to “Commitment” was a young baby no more than 1 year old named Zeynep. Kaplanoglu referred to the young girl as the “hero” of the film and hopes that the movie will become a great memory for her when she’s old enough to watch it.
“The real director of the movie was the baby,” Kaplanoglu told TheWrap’s Steve Pond following a screening of the film Monday night via a translator. “The baby’s emotions, she enlightened our way, and the way she was trying to communicate with us without any words directed my story and my movie.”
Also Read: 'Spider' Director Left Chile Just Before Political...
- 11/13/2019
- by Brian Welk
- The Wrap
Crystal Kayiza’s “See You Next Time,” a short film about a Chinese American nail technician and her black client, took home the grand prize in TheWrap’s Telling Our Stories short film competition.
The contest, presented by WrapWomen and Starz, focuses on female-made nonfiction films that highlight themes relevant to womanhood. Kayiza was presented with the prize by Starz CEO Jeffrey Hirsch at the Wrap Women 2019 Power Women Summit on Friday.
“See You Next Time” is an exploration of the intimate moments between a nail technician and her client in a Brooklyn salon, providing a nuanced look at how two women of color see each other in a unique space.
Also Read: Becky G, Rita Wilson, Chrissy Metz and Diane Warren to Perform Live at Power Women Summit 2019
The grand prize winner was selected by curated group of six industry experts: Starz Senior Vice President of Original Programming Karen Bailey,...
The contest, presented by WrapWomen and Starz, focuses on female-made nonfiction films that highlight themes relevant to womanhood. Kayiza was presented with the prize by Starz CEO Jeffrey Hirsch at the Wrap Women 2019 Power Women Summit on Friday.
“See You Next Time” is an exploration of the intimate moments between a nail technician and her client in a Brooklyn salon, providing a nuanced look at how two women of color see each other in a unique space.
Also Read: Becky G, Rita Wilson, Chrissy Metz and Diane Warren to Perform Live at Power Women Summit 2019
The grand prize winner was selected by curated group of six industry experts: Starz Senior Vice President of Original Programming Karen Bailey,...
- 10/25/2019
- by Reid Nakamura
- The Wrap
Barry Jenkins wants to get personal. In his latest film, “If Beale Street Could Talk,” the Oscar-winning director uses close-ups so the audience can stare directly into the eyes of his characters. By looking at the characters at their most vulnerable, the viewer can’t deny them their humanity. Audiences can begin to understand their emotion. Their pain. Their loss.
“Every now and then, if you have to look someone in the eye, you sit up,” Jenkins told TheWrap’s Steve Pond on Friday at a screening of “Beale Street,” Jenkins’ follow-up to the Oscar-winning “Moonlight.”
Adapted from the best-selling James Baldwin book of the same name, “If Beale Street Could Talk” follows the journey of a young Harlem couple in the ’70s with a perilous future. Stephan James plays sculptor Alonzo “Fonny” Hunt, a man thrown in jail after being put in a police lineup for a rape he didn’t commit.
“Every now and then, if you have to look someone in the eye, you sit up,” Jenkins told TheWrap’s Steve Pond on Friday at a screening of “Beale Street,” Jenkins’ follow-up to the Oscar-winning “Moonlight.”
Adapted from the best-selling James Baldwin book of the same name, “If Beale Street Could Talk” follows the journey of a young Harlem couple in the ’70s with a perilous future. Stephan James plays sculptor Alonzo “Fonny” Hunt, a man thrown in jail after being put in a police lineup for a rape he didn’t commit.
- 1/8/2019
- by Omar Sanchez
- The Wrap
Since becoming a mother in 2004, Julia Roberts has only starred in a handful of movies. This 2000 Best Actress Oscar winner (“Erin Brockovich”) has often opted for less time-consuming supporting roles or voice work. That she agreed to headline Peter Hedges‘ intense family drama “Ben is Back” tells you that the project is something special. Here are five reasons why her tour-de-force performance as a mother determined to keep her drug-addicted son from relapsing will bring her back to the Academy Awards.
1. She is getting some of the best reviews of her career
Hedges is a well-regarded filmmaker. He reaped an Oscar bid for his adaptation of Nick Hornsby‘s novel “About a Boy” and two Indie Spirit bids for his directorial debut “Pieces of April.” His new film scores an impressive 84 on Rotten Tomatoes, with that review aggregator calling it, “refreshingly understated as it subverts family drama stereotypes and provides...
1. She is getting some of the best reviews of her career
Hedges is a well-regarded filmmaker. He reaped an Oscar bid for his adaptation of Nick Hornsby‘s novel “About a Boy” and two Indie Spirit bids for his directorial debut “Pieces of April.” His new film scores an impressive 84 on Rotten Tomatoes, with that review aggregator calling it, “refreshingly understated as it subverts family drama stereotypes and provides...
- 11/21/2018
- by Paul Sheehan
- Gold Derby
In the wetlands of northeast India, a group of kids had a dream to make it big as a rock band. Their instruments weren’t real, but that didn’t matter. Their dream was real.
“Children can dream no matter where they come from,” director Rima Das told TheWrap’s Steve Pond at a Q&A on Monday following a screening of her film “Village Rockstars,” India’s entry into the Oscar foreign film race.
The children’s dream and one camera were the only ingredients necessary to make “Village Rockstars,” a story following 10-year-old Dhunu, a young girl (played by Bhanita Das) with a dream to get a guitar and start a band with some friends. Her dream remains strong despite the world around her. Dhunu’s village is constantly hit with heavy floods and her widowed mother (Basanti Das) constantly battles adversity to support the family.
Also Read:...
“Children can dream no matter where they come from,” director Rima Das told TheWrap’s Steve Pond at a Q&A on Monday following a screening of her film “Village Rockstars,” India’s entry into the Oscar foreign film race.
The children’s dream and one camera were the only ingredients necessary to make “Village Rockstars,” a story following 10-year-old Dhunu, a young girl (played by Bhanita Das) with a dream to get a guitar and start a band with some friends. Her dream remains strong despite the world around her. Dhunu’s village is constantly hit with heavy floods and her widowed mother (Basanti Das) constantly battles adversity to support the family.
Also Read:...
- 11/20/2018
- by Omar Sanchez
- The Wrap
Most thought this would be a slow Cannes Film Festival, but we’re already on day four and movies have been bought, there’s a bidding war going on, and well, Jean-Luc Godard is back to mess with our heads.
Saban Films picked up the rights to two movies in the last two days, while Bleecker Street and Netflix (the latter of which backed out of submitting any films for the competition) have also emerged as players in the market.
Jessica Chastain’s female spy thriller “355” sparked a heated bidding war, with Universal emerging as the victor in an eight-figure deal.
Also Read: Cannes Report, Day 3: Women Rule, 'Cold War' Hailed as 'Best Film' Yet
Meanwhile, everyone else is still trying to get that one selfie on the red carpet despite a no-selfie policy — or get another glimpse at jury president Cate Blanchett.
See what everyone talked about during the fourth day at Cannes:
Acquisitions, Acquisitions
May 11 saw the acquisitions of quite a heap of films. Neon acquired the troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, while Bleecker Street picked up the rights to Mads Mikkelsen’s survival drama “Arctic.” The film premiered at the Cannes Film Festival on Thursday night.
Saban Films bought the rights to Keanu Reeves’ “Siberia,” a thriller by director Matthew Ross in the market that also stars Ana Ularu and Molly Ringwald.
Also Read: Netflix Buys Animated Film 'Next Gen' for $30 Million
In what might be the biggest deal so far at Cannes, Netflix picked up the worldwide rights, excluding China, to the animated film “Next Gen” for $30 million.
Netflix pulled out of submitting films to this year’s festival after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition — but passed.
Speaking of Saban Films…
Saban Films sure is spending money this year. At the Sundance Film Festival earlier this year, Saban bought the North American rights to Craig William Macneill’s “Lizzie,” in partnership with Roadside Attractions.
The distributor has been busy at Cannes as well, having bought Gerard Butler’s “Keepers” on Thursday and Reeves’ “Siberia” on Friday. Saban came to conquer Cannes, that’s for sure.
Jessica Chastain’s ‘355’ Bidding War
Everyone wanted a piece of “355,” Jessica Chastain’s female all-star spy thriller that will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.
Early Saturday, Universal announced it had acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war — believed to be worth eight figures.
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Jean-Luc Godard’s ‘The Image Book’ Debuts
Jean-Luc Godard’s newest film “The Image Book” debuted on Friday at Cannes, and early reviews are as jumbled and convoluted as the film itself seems to be.
“The Image Book: who f—in’ knows,” wrote one critic, while another said, “What do you want me to say?”
TheWrap’s Steve Pond wrote in his review: “‘The Image Book’ requires stamina, or more accurately surrender. (A section of the Grand Theatre Lumiere balcony devoted to press had at least a dozen walkouts during the film.)”
See some tweets about the film below.
The Image Book: who fuckin knows. But here are some nonverbal reviews from those seated near me!
- girl next to me covered ears for long stretches
-man two over checked phone 50, 60, and 65 minutes in
-guy in front of me buzzsaw snored for full minute before someone woke him up
— Charles Bramesco (@intothecrevasse) May 11, 2018
The Image Book: Jean-Luc Godard’s collection of images about trains, war, Arab nations & more – from movies & real footage – w/ narration from Godard, sudden bursts of music & long silences. Some will love, some not, I feel like it will work best as the museum exhibit #Cannes2018 pic.twitter.com/H1mfgMIlcB
— Alicia Malone (@aliciamalone) May 11, 2018
The Image Book: Godard lays out all possibilities of cinema on display in 90 minutes. Now please start making your movie ffs. #cannes2018
— Ken Adams (@TaybackX) May 11, 2018
Just saw The Image Book by Jlg. More bellowing at crappy resolution footage from 1950s films and of various imperialist atrocities. What do you want me to say? #cannes2018
— ????Donald Clarke???? (@DonaldClarke63) May 11, 2018
Read original story Cannes Report, Day 4: Sales Market Heats Up, ‘355’ Sparks Bidding War, Jean-Luc Godard Is Back At TheWrap...
Saban Films picked up the rights to two movies in the last two days, while Bleecker Street and Netflix (the latter of which backed out of submitting any films for the competition) have also emerged as players in the market.
Jessica Chastain’s female spy thriller “355” sparked a heated bidding war, with Universal emerging as the victor in an eight-figure deal.
Also Read: Cannes Report, Day 3: Women Rule, 'Cold War' Hailed as 'Best Film' Yet
Meanwhile, everyone else is still trying to get that one selfie on the red carpet despite a no-selfie policy — or get another glimpse at jury president Cate Blanchett.
See what everyone talked about during the fourth day at Cannes:
Acquisitions, Acquisitions
May 11 saw the acquisitions of quite a heap of films. Neon acquired the troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, while Bleecker Street picked up the rights to Mads Mikkelsen’s survival drama “Arctic.” The film premiered at the Cannes Film Festival on Thursday night.
Saban Films bought the rights to Keanu Reeves’ “Siberia,” a thriller by director Matthew Ross in the market that also stars Ana Ularu and Molly Ringwald.
Also Read: Netflix Buys Animated Film 'Next Gen' for $30 Million
In what might be the biggest deal so far at Cannes, Netflix picked up the worldwide rights, excluding China, to the animated film “Next Gen” for $30 million.
Netflix pulled out of submitting films to this year’s festival after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition — but passed.
Speaking of Saban Films…
Saban Films sure is spending money this year. At the Sundance Film Festival earlier this year, Saban bought the North American rights to Craig William Macneill’s “Lizzie,” in partnership with Roadside Attractions.
The distributor has been busy at Cannes as well, having bought Gerard Butler’s “Keepers” on Thursday and Reeves’ “Siberia” on Friday. Saban came to conquer Cannes, that’s for sure.
Jessica Chastain’s ‘355’ Bidding War
Everyone wanted a piece of “355,” Jessica Chastain’s female all-star spy thriller that will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.
Early Saturday, Universal announced it had acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war — believed to be worth eight figures.
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Jean-Luc Godard’s ‘The Image Book’ Debuts
Jean-Luc Godard’s newest film “The Image Book” debuted on Friday at Cannes, and early reviews are as jumbled and convoluted as the film itself seems to be.
“The Image Book: who f—in’ knows,” wrote one critic, while another said, “What do you want me to say?”
TheWrap’s Steve Pond wrote in his review: “‘The Image Book’ requires stamina, or more accurately surrender. (A section of the Grand Theatre Lumiere balcony devoted to press had at least a dozen walkouts during the film.)”
See some tweets about the film below.
The Image Book: who fuckin knows. But here are some nonverbal reviews from those seated near me!
- girl next to me covered ears for long stretches
-man two over checked phone 50, 60, and 65 minutes in
-guy in front of me buzzsaw snored for full minute before someone woke him up
— Charles Bramesco (@intothecrevasse) May 11, 2018
The Image Book: Jean-Luc Godard’s collection of images about trains, war, Arab nations & more – from movies & real footage – w/ narration from Godard, sudden bursts of music & long silences. Some will love, some not, I feel like it will work best as the museum exhibit #Cannes2018 pic.twitter.com/H1mfgMIlcB
— Alicia Malone (@aliciamalone) May 11, 2018
The Image Book: Godard lays out all possibilities of cinema on display in 90 minutes. Now please start making your movie ffs. #cannes2018
— Ken Adams (@TaybackX) May 11, 2018
Just saw The Image Book by Jlg. More bellowing at crappy resolution footage from 1950s films and of various imperialist atrocities. What do you want me to say? #cannes2018
— ????Donald Clarke???? (@DonaldClarke63) May 11, 2018
Read original story Cannes Report, Day 4: Sales Market Heats Up, ‘355’ Sparks Bidding War, Jean-Luc Godard Is Back At TheWrap...
- 5/12/2018
- by Beatrice Verhoeven
- The Wrap
Distributors are buying films faster at this year’s Cannes Film Festival than they did at the last Sundance or Toronto fests.
On Thursday, Saban Films bought Gerard Butler’s “Keepers,” Sony Pictures Classics picked up the rights to Lebanese director Nadine Labaki’s “Capernaum,” and Jessica Chastain’s all-female thriller “355” landed a French distributor.
Two clear highlights from the film festival’s third day: “Black Panther” director Ryan Coogler talking about how he loved working with women on his films, and Paweł Pawlikowski’s film “Cold War,” which received mostly glowing reviews. Many early viewers even called it the best film to come out of Cannes yet this year (so far).
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Films screening on Friday include “Ash Is Purest White” and Jean-Luc Godard’s “The Image Book,” the latter of which should get some buzz.
See below for highlights from Cannes, day three:
Saban Films Plays the Game
Saban Films picked up the North American rights to Gerard Butler’s “Keepers,” the distributor announced Thursday.
Kristoffer Nyholm directed the film which also stars Peter Mullan and Connor Swindells. The thriller is inspired by the Flannan Isle mystery where three lighthouse keepers arrive on an uninhabited island for a six-week shift but then discover something life-changing that isn’t theirs to keep. Soon, they have to battle paranoia and isolation to survive.
Saban Films has been at the forefront of the acquisitions game at festivals lately — at Sundance earlier this year, Saban picked up the rights to buzzy film “Lizzie,” which stars Chloe Sevigny and Kristen Stewart.
Also Read: Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote:' A Brief History
Sony Classics
Sony Classics Flips for “Capernaum”
On Thursday, Sony Pictures Classics acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” which is set to premiere at Cannes next Thursday in competition.
The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.
Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.
Getty Images
Ryan Coogler’s Panel
“Black Panther” director Ryan Coogler took part in a panel on Thursday, one of the hottest tickets on the Croisette. Vulture senior editor Kyle Buchanan posted a thread on Twitter about the conversation — and the filmmaker’s comments about working with strong women were the talk of the town.
When interviewer Elvis Mitchell praised him for working with female cinematographers and female editors for all three of his films, which also include “Fruitvale Station” and “Creed,” Coogler said, “It’s not something to brag about. Honestly, for my first film, I was looking for the best cinematographer I could find. Rachel Morrison was that. She was the best d.p. we could get at the time, and I thought I was getting somebody amazing, but she turned out to be incredible.”
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
He also said that the women are “more important” than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong’o, Letitia Wright, Angela Bassett and Gurira.
“A lot of times, in comic books, it’s a little bit of tokenism: You’ve got one black person, you’ve got one woman that fights,” added Coogler. “I was fired up about that, and I didn’t want to blow the opportunity.”
Jessica Chastain’s All-Star ‘355’ Gets French Deal
In general, the topic of female empowerment seems to be the rage at this year’s festival. Cate Blanchett and the rest of the jury faced questions questions about #TimesUp and the number of films directed by women during a press conference on the first day. And on Thursday, Jessica Chastain’s all-star film “355” got French distribution from Snd.
The film is a female-led spy thriller that also stars Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.
“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.
However, TheWrap’s Steve Pond reported that the Cannes Film Festival has had a dismal record of showcasing the work of female directors for decades. Over the first 71 years of Cannes, a paltry 4.3 percent of the competition films have been directed by women.
‘Sorry Angel’ Debuts to (Mostly) Glowing Reviews
Christophe Honoré has impressed most with his new film, “Sorry Angel,” which debuted at Cannes on Thursday. The film follows a male student from Britanny who has a love affair with a 39-year0old man. Vincent Lacoste, Pierre Deladonchamps and Denis Podalydes star.
Vanity Fair’s Richard Lawson wrote that ‘Sorry Angel” is a “rich and thoughtful romantic drama that is less about politics than it is about matters of the heart and body. A chewy, handsomely staged novel of a movie, ‘Sorry Angel’ contains moments of piercing intelligence and heartbreaking beauty.”
IndieWire’s Eric Kohn wrote: “The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ’90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”
However, Peter Bradshaw from The Guardian said “it is often poignant and humorous but also placid and complacent, with performances bordering on the self-regarding and even faintly insufferable.”
‘Cold War’ Also Debuts
Four years after his film “Ida” won the foreign-language Oscar, Paweł Pawlikowski’s film “Cold War” also debuted on Thursday, and The Telegraph’s Tim Robey declared: “By a distance, the best film in Cannes competition so far…” Another Twitter user agreed, writing, “Pawlikowski’s ‘Cold War’ the best feature of Cannes so far. Beautifully shot and performed and with the right amount of fatalism.”
Vulture’s Kyle Buchanan revealed that there was “lots of well-deserved praise for Cannes entry ‘Cold War,'” and TheWrap’s Steve Pond called it “ravishing” and “haunting” in his review.
See some more reactions to the movie below.
Cold War doesn’t waste a frame. Ida had more mystery and wonder, but this is a natural continuation, visually and thematically, for a fimmmaker obsessed with exploring the post-wwii fracturing of European identity. A concise treat. #cannes
— erickohn (@erickohn) May 11, 2018
Cold War: the first truly great film I’ve seen at Cannes this year. Delicate and forceful when it’s supposed to be, a tragic romance that reminds you why we find tragedy romantic.
— Charles Bramesco (@intothecrevasse) May 11, 2018
Having now seen Cold War I can report back that it is absolutely brilliant – a heartbreaking story, with astonishing performances and a hauntingly beautiful soundtrack. I would recommend it to all. Cate Blanchett, it’s got my vote! ???????????? #cannes2018 @Festival_Cannes
— Margot James (@margot_james_mp) May 10, 2018
The buzz ahead of Cannes around Pawel Pawlikowski's 'Cold War' is strong. Have heard from a few people that it will be in contention for awards. Certainly looks beautiful and if it approaches 'Ida' we're in for a treat. pic.twitter.com/xANuF9htV5
— Andreas Wiseman (@AndreasWiseman) May 3, 2018
Cold War by Pawlikowski is superb, by some distance the best in the main competition thus far @IFI_Dub @Festival_Cannes pic.twitter.com/2zA289aNGO
— David O Mahony (@David_O_Mahony) May 11, 2018
Read original story Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet At TheWrap...
On Thursday, Saban Films bought Gerard Butler’s “Keepers,” Sony Pictures Classics picked up the rights to Lebanese director Nadine Labaki’s “Capernaum,” and Jessica Chastain’s all-female thriller “355” landed a French distributor.
Two clear highlights from the film festival’s third day: “Black Panther” director Ryan Coogler talking about how he loved working with women on his films, and Paweł Pawlikowski’s film “Cold War,” which received mostly glowing reviews. Many early viewers even called it the best film to come out of Cannes yet this year (so far).
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Films screening on Friday include “Ash Is Purest White” and Jean-Luc Godard’s “The Image Book,” the latter of which should get some buzz.
See below for highlights from Cannes, day three:
Saban Films Plays the Game
Saban Films picked up the North American rights to Gerard Butler’s “Keepers,” the distributor announced Thursday.
Kristoffer Nyholm directed the film which also stars Peter Mullan and Connor Swindells. The thriller is inspired by the Flannan Isle mystery where three lighthouse keepers arrive on an uninhabited island for a six-week shift but then discover something life-changing that isn’t theirs to keep. Soon, they have to battle paranoia and isolation to survive.
Saban Films has been at the forefront of the acquisitions game at festivals lately — at Sundance earlier this year, Saban picked up the rights to buzzy film “Lizzie,” which stars Chloe Sevigny and Kristen Stewart.
Also Read: Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote:' A Brief History
Sony Classics
Sony Classics Flips for “Capernaum”
On Thursday, Sony Pictures Classics acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” which is set to premiere at Cannes next Thursday in competition.
The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.
Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.
Getty Images
Ryan Coogler’s Panel
“Black Panther” director Ryan Coogler took part in a panel on Thursday, one of the hottest tickets on the Croisette. Vulture senior editor Kyle Buchanan posted a thread on Twitter about the conversation — and the filmmaker’s comments about working with strong women were the talk of the town.
When interviewer Elvis Mitchell praised him for working with female cinematographers and female editors for all three of his films, which also include “Fruitvale Station” and “Creed,” Coogler said, “It’s not something to brag about. Honestly, for my first film, I was looking for the best cinematographer I could find. Rachel Morrison was that. She was the best d.p. we could get at the time, and I thought I was getting somebody amazing, but she turned out to be incredible.”
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
He also said that the women are “more important” than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong’o, Letitia Wright, Angela Bassett and Gurira.
“A lot of times, in comic books, it’s a little bit of tokenism: You’ve got one black person, you’ve got one woman that fights,” added Coogler. “I was fired up about that, and I didn’t want to blow the opportunity.”
Jessica Chastain’s All-Star ‘355’ Gets French Deal
In general, the topic of female empowerment seems to be the rage at this year’s festival. Cate Blanchett and the rest of the jury faced questions questions about #TimesUp and the number of films directed by women during a press conference on the first day. And on Thursday, Jessica Chastain’s all-star film “355” got French distribution from Snd.
The film is a female-led spy thriller that also stars Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.
“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.
However, TheWrap’s Steve Pond reported that the Cannes Film Festival has had a dismal record of showcasing the work of female directors for decades. Over the first 71 years of Cannes, a paltry 4.3 percent of the competition films have been directed by women.
‘Sorry Angel’ Debuts to (Mostly) Glowing Reviews
Christophe Honoré has impressed most with his new film, “Sorry Angel,” which debuted at Cannes on Thursday. The film follows a male student from Britanny who has a love affair with a 39-year0old man. Vincent Lacoste, Pierre Deladonchamps and Denis Podalydes star.
Vanity Fair’s Richard Lawson wrote that ‘Sorry Angel” is a “rich and thoughtful romantic drama that is less about politics than it is about matters of the heart and body. A chewy, handsomely staged novel of a movie, ‘Sorry Angel’ contains moments of piercing intelligence and heartbreaking beauty.”
IndieWire’s Eric Kohn wrote: “The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ’90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”
However, Peter Bradshaw from The Guardian said “it is often poignant and humorous but also placid and complacent, with performances bordering on the self-regarding and even faintly insufferable.”
‘Cold War’ Also Debuts
Four years after his film “Ida” won the foreign-language Oscar, Paweł Pawlikowski’s film “Cold War” also debuted on Thursday, and The Telegraph’s Tim Robey declared: “By a distance, the best film in Cannes competition so far…” Another Twitter user agreed, writing, “Pawlikowski’s ‘Cold War’ the best feature of Cannes so far. Beautifully shot and performed and with the right amount of fatalism.”
Vulture’s Kyle Buchanan revealed that there was “lots of well-deserved praise for Cannes entry ‘Cold War,'” and TheWrap’s Steve Pond called it “ravishing” and “haunting” in his review.
See some more reactions to the movie below.
Cold War doesn’t waste a frame. Ida had more mystery and wonder, but this is a natural continuation, visually and thematically, for a fimmmaker obsessed with exploring the post-wwii fracturing of European identity. A concise treat. #cannes
— erickohn (@erickohn) May 11, 2018
Cold War: the first truly great film I’ve seen at Cannes this year. Delicate and forceful when it’s supposed to be, a tragic romance that reminds you why we find tragedy romantic.
— Charles Bramesco (@intothecrevasse) May 11, 2018
Having now seen Cold War I can report back that it is absolutely brilliant – a heartbreaking story, with astonishing performances and a hauntingly beautiful soundtrack. I would recommend it to all. Cate Blanchett, it’s got my vote! ???????????? #cannes2018 @Festival_Cannes
— Margot James (@margot_james_mp) May 10, 2018
The buzz ahead of Cannes around Pawel Pawlikowski's 'Cold War' is strong. Have heard from a few people that it will be in contention for awards. Certainly looks beautiful and if it approaches 'Ida' we're in for a treat. pic.twitter.com/xANuF9htV5
— Andreas Wiseman (@AndreasWiseman) May 3, 2018
Cold War by Pawlikowski is superb, by some distance the best in the main competition thus far @IFI_Dub @Festival_Cannes pic.twitter.com/2zA289aNGO
— David O Mahony (@David_O_Mahony) May 11, 2018
Read original story Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet At TheWrap...
- 5/11/2018
- by Beatrice Verhoeven
- The Wrap
Neon acquired North American rights to director Ali Abbasi’s troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, the company announced Friday.
The Swedish genre film is based on a novel by John Ajvide Lindqvist, whose previous vampire story, “Let the Right One In,” became an international film hit in 2010 — and was also adapted by Hollywood two years later.
Terms of the deal were not disclosed.
Also Read: 'Border' Film Review: Are Moviegoers Ready for Hot, Hairy Troll Sex?
“Border,” the second feature from Iranian-born Danish director Abbasi, follows a border guard (Eva Melander) who has the ability to smell human emotions and catch smugglers. When she comes across a mysterious man with a smell that confounds her detection, she is forced to confront hugely disturbing insights about herself and humankind.
Abassi co-scripted the film with Isabella Eklöf, in collaboration with Lindqvist.
TheWrap’s Steve Pond described the film as “a quintessential midnight movie for the artiest of art-houses,” noting its depiction of maggot-eating beast people who engage in “some hairy, sweaty and distinctly unusual troll sex.”
He added, “But it’s also an allegory of how we treat outsiders, from migrants to those who don’t love the same way we do.”
Also Read: Bleecker Street Acquires Mads Mikkelsen Survival Drama 'Arctic'
Producers include Nina Bisgaard, Piodor Gustafsson and Petra Jönsson for Meta Film Stockholm, Spark Film & TV and Kärnfilm, in co-production with Meta Film Denmark, together with Film i Väst, Svt and Copenhagen Film Fund.
The Swedish Film Institute and Nordisk Film & TV Fond provided production support. The film was also supported by the Danish Film Institute, Media and Eurimages.
Read original story Neon Picks Up Troll Love Story ‘Border’ At TheWrap...
The Swedish genre film is based on a novel by John Ajvide Lindqvist, whose previous vampire story, “Let the Right One In,” became an international film hit in 2010 — and was also adapted by Hollywood two years later.
Terms of the deal were not disclosed.
Also Read: 'Border' Film Review: Are Moviegoers Ready for Hot, Hairy Troll Sex?
“Border,” the second feature from Iranian-born Danish director Abbasi, follows a border guard (Eva Melander) who has the ability to smell human emotions and catch smugglers. When she comes across a mysterious man with a smell that confounds her detection, she is forced to confront hugely disturbing insights about herself and humankind.
Abassi co-scripted the film with Isabella Eklöf, in collaboration with Lindqvist.
TheWrap’s Steve Pond described the film as “a quintessential midnight movie for the artiest of art-houses,” noting its depiction of maggot-eating beast people who engage in “some hairy, sweaty and distinctly unusual troll sex.”
He added, “But it’s also an allegory of how we treat outsiders, from migrants to those who don’t love the same way we do.”
Also Read: Bleecker Street Acquires Mads Mikkelsen Survival Drama 'Arctic'
Producers include Nina Bisgaard, Piodor Gustafsson and Petra Jönsson for Meta Film Stockholm, Spark Film & TV and Kärnfilm, in co-production with Meta Film Denmark, together with Film i Väst, Svt and Copenhagen Film Fund.
The Swedish Film Institute and Nordisk Film & TV Fond provided production support. The film was also supported by the Danish Film Institute, Media and Eurimages.
Read original story Neon Picks Up Troll Love Story ‘Border’ At TheWrap...
- 5/11/2018
- by Thom Geier
- The Wrap
Day 2 of the Cannes Film Festival was filled with screenings, most noteworthy being the showing of the Kenyan film “Rafiki,” but Terry Gilliam was the talk of the town when his film scored a huge legal victory on Wednesday.
A Paris court ruled that his long-in-the-works film “The Man Who Killed Don Quixote” could screen on the festival’s closing night despite a suit by a producer seeking to stop it. At the same time, however, the film lost its North American distributor, Amazon Studios, and Gilliam himself suffered a minor stroke over the weekend.
“Rafiki” made history on Wednesday when it became the first Kenyan film to screen at the festival. And Russia’s “Leto” also screened, but filmmaker Kirill Serebrennikov introduced it in absentia given that he is still under house arrest in his home country.
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
Thursday sees competition films “Sorry Angel” and “Cold War” screening.
See below for Wednesday’s roundup:
“The Man Who Killed Don Quixote” Wins
Terry Gilliam was victorious on Wednesday, when a French judge decided to throw out a producer’s bid to stop the film from screening at the Cannes Film Festival.
The film, which Gilliam has tried to make for decades with several failed attempts, can now screen during the festival’s closing night.
Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
However, Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Adam Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Jonathan Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Kenya’s “Rafiki” Debuts
The first-ever Kenyan film to be included in the festival, titled “Rafiki,” debuted at Cannes on Wednesday.
Many people were moved by its political storytelling. TheWrap’s Steve Pond wrote in his review, “Second-time director Wanuri Kahiu, one of a larger-than-usual contingent of female directors in the main selection, has crafted a modest, at times striking drama that is perhaps more notable for what it represents than what it is.”
The film was banned in its home country due to its Lgbt love story, with the Kenya Film Classification Board saying that homosexual scenes were illegal in Kenya.
Also Read: 'Rafiki' Film Review: African Gay Romance Is a First for Cannes
#Rafiki is – in terms of filmmaking – somewhat conventional. But in terms of representation politics & storytelling it‘s an important & well made glimpse into Kenya, it‘s people and society. And the 2 protagonists are strong leads. Takes a lot of Chuzpe to make this film. #cannes
— Beatrice Behn (@DansLeCinema) May 9, 2018
Rafiki falls apart narratively but great style, talented director and liked one of the leads quite a bit. Important gay film for Kenya. #Cannes2018
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Rafiki: definitely a first film, but it’s got a vital political utility and these leads have chemistry out the wazoo. It’s not Cannes unless there’s a movie with blacklighting!
— Charles Bramesco (@intothecrevasse) May 9, 2018
“Black Panther” Lights Up the Beach at Night
“Black Panther” was screened at night at the Cinema de la Plage — and what a beautiful setting to see one of the most talked-about films of the year.
A Cannes crowd has gathered for a nighttime screening of Black Panther on the beach pic.twitter.com/BAX6Q575Yn
— Kyle Buchanan (@kylebuchanan) May 9, 2018
Yo @MarvelStudios made it to #Cannes2018 Outdoor beach screening of Black Panther. Overflow on public beach behind it. pic.twitter.com/64nX7yQ8Cl
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Russia’s “Leto” Debuts
Kirill Serebrennikov’s film “Leto” screened at the festival while the director himself still remains under house arrest in Russia on charges of corruption.
The film received mixed early reviews. One viewer described the film as “cinematic brilliance,” while another called it “exceptional.”
TheWrap’s Steve Pond wrote in his review that “‘Leto’ is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, ‘Leto’ asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.”
Leto aka Summer (Serebrennikov '18) is an exceptional, and exceptionally morose, movie about internal conflict amidst social upheaval. An urgent cry for the present moment. No way this isn't winning something… #Cannes2018 #Cannes
— The Habitus (@habituspod) May 10, 2018
Cinematic brilliance @Festival_Cannes #Leto #KirillSerebrennikov #coupdecoeur https://t.co/JvOcDsDXdO
— Julia Effertz (@JuliaEffertz) May 10, 2018
Kirill Serebrennikov's Leto is not a Jared Leto biopic, but it's closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his. https://t.co/KOzce3PNE1
— Guy Lodge (@GuyLodge) May 10, 2018
Read original story Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory At TheWrap...
A Paris court ruled that his long-in-the-works film “The Man Who Killed Don Quixote” could screen on the festival’s closing night despite a suit by a producer seeking to stop it. At the same time, however, the film lost its North American distributor, Amazon Studios, and Gilliam himself suffered a minor stroke over the weekend.
“Rafiki” made history on Wednesday when it became the first Kenyan film to screen at the festival. And Russia’s “Leto” also screened, but filmmaker Kirill Serebrennikov introduced it in absentia given that he is still under house arrest in his home country.
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
Thursday sees competition films “Sorry Angel” and “Cold War” screening.
See below for Wednesday’s roundup:
“The Man Who Killed Don Quixote” Wins
Terry Gilliam was victorious on Wednesday, when a French judge decided to throw out a producer’s bid to stop the film from screening at the Cannes Film Festival.
The film, which Gilliam has tried to make for decades with several failed attempts, can now screen during the festival’s closing night.
Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
However, Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Adam Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Jonathan Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Kenya’s “Rafiki” Debuts
The first-ever Kenyan film to be included in the festival, titled “Rafiki,” debuted at Cannes on Wednesday.
Many people were moved by its political storytelling. TheWrap’s Steve Pond wrote in his review, “Second-time director Wanuri Kahiu, one of a larger-than-usual contingent of female directors in the main selection, has crafted a modest, at times striking drama that is perhaps more notable for what it represents than what it is.”
The film was banned in its home country due to its Lgbt love story, with the Kenya Film Classification Board saying that homosexual scenes were illegal in Kenya.
Also Read: 'Rafiki' Film Review: African Gay Romance Is a First for Cannes
#Rafiki is – in terms of filmmaking – somewhat conventional. But in terms of representation politics & storytelling it‘s an important & well made glimpse into Kenya, it‘s people and society. And the 2 protagonists are strong leads. Takes a lot of Chuzpe to make this film. #cannes
— Beatrice Behn (@DansLeCinema) May 9, 2018
Rafiki falls apart narratively but great style, talented director and liked one of the leads quite a bit. Important gay film for Kenya. #Cannes2018
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Rafiki: definitely a first film, but it’s got a vital political utility and these leads have chemistry out the wazoo. It’s not Cannes unless there’s a movie with blacklighting!
— Charles Bramesco (@intothecrevasse) May 9, 2018
“Black Panther” Lights Up the Beach at Night
“Black Panther” was screened at night at the Cinema de la Plage — and what a beautiful setting to see one of the most talked-about films of the year.
A Cannes crowd has gathered for a nighttime screening of Black Panther on the beach pic.twitter.com/BAX6Q575Yn
— Kyle Buchanan (@kylebuchanan) May 9, 2018
Yo @MarvelStudios made it to #Cannes2018 Outdoor beach screening of Black Panther. Overflow on public beach behind it. pic.twitter.com/64nX7yQ8Cl
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Russia’s “Leto” Debuts
Kirill Serebrennikov’s film “Leto” screened at the festival while the director himself still remains under house arrest in Russia on charges of corruption.
The film received mixed early reviews. One viewer described the film as “cinematic brilliance,” while another called it “exceptional.”
TheWrap’s Steve Pond wrote in his review that “‘Leto’ is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, ‘Leto’ asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.”
Leto aka Summer (Serebrennikov '18) is an exceptional, and exceptionally morose, movie about internal conflict amidst social upheaval. An urgent cry for the present moment. No way this isn't winning something… #Cannes2018 #Cannes
— The Habitus (@habituspod) May 10, 2018
Cinematic brilliance @Festival_Cannes #Leto #KirillSerebrennikov #coupdecoeur https://t.co/JvOcDsDXdO
— Julia Effertz (@JuliaEffertz) May 10, 2018
Kirill Serebrennikov's Leto is not a Jared Leto biopic, but it's closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his. https://t.co/KOzce3PNE1
— Guy Lodge (@GuyLodge) May 10, 2018
Read original story Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory At TheWrap...
- 5/10/2018
- by Beatrice Verhoeven
- The Wrap
Jessica Chastain is in early talks to star as the adult version of Beverly Marsh in the upcoming “It” sequel. There has long been speculation that Chastain would star as the character, played by Sophia Lillis in the original film that hit theaters last September. In the past, the actress has said she’d love to do it, telling TheWrap’s Steve Pond that she’d “kick any clown’s a–.” Then, in December, she once again refueled the fire by telling the world she wanted to play the role. Lillis is also on the record saying she’d like Chastain to play the adult version...
- 2/20/2018
- by Beatrice Verhoeven
- The Wrap
If you think you’re obsessed with English history, just talk to Gary Oldman. After spending three months portraying Winston Churchill for his film “Darkest Hour,” Oldman told TheWrap’s Steve Pond that he dove back in for more of the wartime prime minister by binge-watching Netflix drama, “The Crown.” But it turns out “Darkest Hour” and “The Crown” have more in common than just their time periods (the former is set in 1940, the latter begins in 1947). As Oldman was reliving post-war Britain, he spotted his “Darkest Hour” co-star Stephen Dillane (Lord Halifax). “I went, ‘That’s Stephen Dillane! In a scene!
- 12/21/2017
- by Brian Welk
- The Wrap
Madonna flew into a rage when two backstage workers at the 1991 Oscars made errors affecting the perfectionist singer, according to an explosive new book. Film journalist Steve Pond has exposed the Material Girl's diva-like behavior in his new book The Big Show: High Times And Dirty Dealings Backstage At The Academy Awards. Pond claims a female camera operator was seriously injured after falling off the stage into the orchestra pit while Madonna was preparing to rehearse her Dick Tracy tune "Sooner Or Later" to the celebrity-packed audience. But instead of expressing concern, the pop legend was enraged when she was informed her performance had been delayed by the mishap - and reportedly commented, "But she's just lying there. Can't we just do this?" The situation got worse when a technician fell asleep and ruined a planned stunt which was supposed to involve her microphone appearing out of nowhere. Pond recalls in the tome due out next month, "(Madonna launched) into an astonishingly profane tirade, despite the fact that the area below the stage was also occupied by a group of children. Furious, she grabbed (the bearer of the bad news) around the neck and lifted him bodily off the ground, not relinquishing her grip until the trapdoor opened and she began to rise."...
- 12/24/2004
- WENN
Singing sensation Whitney Houston infuriated Burt Bacharach at rehearsals for the 2000 Academy Awards - by singing the wrong song. The singer is currently clean after spending March in rehabilitation for drug addiction, but four years ago she was reportedly not so sober. In Steve Pond's forthcoming book, The Big Show: High Times And Dirty Dealings Backstage At The Academy Awards, which exposes a host of Oscar secrets, Pond reveals Houston's performance technique angered Bacharach. In the tome, Pond writes, "Houston's voice was shaky, she seemed distracted and jittery, and her attitude was casual, almost defiant." Despite Bacharach, the musical director of the 2000 Oscars, playing "Over The Rainbow" on the piano, Houston began singing "The Way We Were." Pond continues, "Finally, Bacharach (at wit's end) slumped over the piano, (putting) his head down on the keys." Producer Lili Zanuck cancelled Houston's appearance at the ceremony, explaining, "We didn't want to work for six months for this to be a show about how f**ked-up Whitney Houston was."...
- 12/23/2004
- WENN
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