Festival
Raindance Film Festival, Britain’s largest independent film festival, will return to cinemas this year, reimagined and restructured with a host of new partners and new films. Running Oct. 27 – Nov. 6, this year’s in-person event will partner with several cinemas across London and offer online screenings in the U.K., facilitated by Curzon Home Cinema.
After seeing last year’s data, which showed that about 70% of the festival’s online audience was located outside of London, Raindance has made a concerted effort to continue fostering its online reach, resulting in the new partnership with Curzon, which will host pay-per-view screenings of official competition films on its iOS, Android and Smart TV apps.
Kicking off on Oct. 27, the Raindance opening gala will feature a screening of Lina Roessler’s “Best Sellers,” starring Academy Award winner Michael Caine, Cary Elwes and Aubrey Plaza. Bookending the event on Nov. 6, the closing gala...
Raindance Film Festival, Britain’s largest independent film festival, will return to cinemas this year, reimagined and restructured with a host of new partners and new films. Running Oct. 27 – Nov. 6, this year’s in-person event will partner with several cinemas across London and offer online screenings in the U.K., facilitated by Curzon Home Cinema.
After seeing last year’s data, which showed that about 70% of the festival’s online audience was located outside of London, Raindance has made a concerted effort to continue fostering its online reach, resulting in the new partnership with Curzon, which will host pay-per-view screenings of official competition films on its iOS, Android and Smart TV apps.
Kicking off on Oct. 27, the Raindance opening gala will feature a screening of Lina Roessler’s “Best Sellers,” starring Academy Award winner Michael Caine, Cary Elwes and Aubrey Plaza. Bookending the event on Nov. 6, the closing gala...
- 9/15/2021
- by Jamie Lang
- Variety Film + TV
“Wonder Woman 1984” star Connie Nielsen and “Doctor Who’s” Christopher Eccleston are set to star in psychological drama “Close to Me,” the first English-language drama to originate from Nordic Entertainment Group’s (Nent) fledgling U.K. operation.
Nent Studios U.K. is adapting British author Amanda Reynolds’ novel “Close to Me” in an eponymous six-part series that will debut on Nent Group-backed streamer Viaplay in the Nordic and Baltic regions as an Original, and air in the U.K. on Channel 4, which has acquired the project.
Mexican outfit Dopamine, which recently partnered with Nent Studios U.K. for scripted programs, will serve as a co-production partner on the series — a rare English-language scripted co-production for a Latin American business — while Nent Studios U.K. will distribute the title internationally.
The project is a major step forward for Nordic powerhouse Nent Group’s efforts in the U.K., a key...
Nent Studios U.K. is adapting British author Amanda Reynolds’ novel “Close to Me” in an eponymous six-part series that will debut on Nent Group-backed streamer Viaplay in the Nordic and Baltic regions as an Original, and air in the U.K. on Channel 4, which has acquired the project.
Mexican outfit Dopamine, which recently partnered with Nent Studios U.K. for scripted programs, will serve as a co-production partner on the series — a rare English-language scripted co-production for a Latin American business — while Nent Studios U.K. will distribute the title internationally.
The project is a major step forward for Nordic powerhouse Nent Group’s efforts in the U.K., a key...
- 8/10/2020
- by Manori Ravindran
- Variety Film + TV
Hasbro Studios & Clear Vision Ink Distribution Deal UK-based Clear Vision has acquired Hv distribution rights for the first and second seasons of Hasbro Studios’ My Little Pony Friendship Is Magic. Under the multi-territory deal, Clear Vision will distribute the hit kids’ show in the UK, France, Italy, the Nordic countries and the Middle East. Produced and distributed globally by Hasbro Studios, the series follows young unicorn Twilight Sparkle and five other pony friends through funny, offbeat experiences, lessons in friendship and exciting, enchanted adventures. Rhys Ifans Boards ‘Gifted’ Rhys Ifans is set to star in Playhouse Presents…Gifted. Written by Angela Pell and directed by Marc Evans, the drama tells the story of a man, crippled by a secret ability, who falls in love for the first time. Chris (Ifans) is an outsider who lives a secluded, mundane and humdrum existence until Mona (Sarah Smart) arrives in his life. As...
- 4/19/2013
- by THE DEADLINE TEAM
- Deadline TV
Screened at the Berlin International Film Festival
BERLIN -- "Snow Cake" tries to wring intimate drama and sweet epiphanies from a collection of oddball characters, peculiar circumstances and doubtful coincidences in a middle-of-nowhere Canadian town. The mental and physical landscape would do justice to an Atom Egoyan film, but in this film, written by Angela Pell and directed by Marc Evans, the key dramatic moments feel as forced as they are predictable.
This low-key Canadian-British production, the opening-night selection for the Berlin International Film Festival, has a chance at art house exposure with its cast of Alan Rickman, Sigourney Weaver and Carrie-Anne Moss, but theatrical opportunities will be limited.
Mostly, Pell presents characters out of sync with their lives, uncomfortable in their bodies and overly protective of their emotions. There is one live wire, but she must die early for these people to connect at all.
Young and over-caffeinated Vivienne (Emily Hampshire) is the sacrificial lamb in this fiction, a gregarious and talkative hitchhiker who is grudgingly picked up by the sour-faced and incommunicative Alex (Rickman), whose entire body sags under the weight of the baggage of his past.
As the two near her destination, a terrible car accident claims her life but leaves Alex with barely a scratch. Overwhelmed with remorse and guilt, even though the accident was not his fault, Alex seeks out Vivienne's mother, Linda (Weaver), who scarcely reacts to her daughter's death. This, he soon learns, is due to her autism. Only it's the kind of literary autism that allows her to make sagacious observations and funny remarks.
Linda does persuade Alex To stay the night, which turns into several more nights. It's enough time for Alex To begin an unlikely affair with beautiful neighbor Maggie (Moss), who is no more out of place in this environment than a three-star restaurant. And, wouldn't you know it, Maggie, too, has a past.
Everyone's past, none of which is nearly as interesting as the filmmakers seem to believe, gets chewed over in the coming days. Then there's a local cop (James Allodi), smitten with unrequited affection for Maggie, lurking ominously in the background, jealously festering over her swift embrace of this lonely drifter. It's a plot line without a payoff.
Performances here feel like performances. Rickman and Weaver have so carefully thought through their roles in such minute physical details that nothing feels spontaneous. By contrast, Moss is warm and natural, but her urban character is so underwritten and alarmingly out of place in this small town that all Maggie can do is act as a catalyst for other people's healing.
Cinematographer Steve Cosens often keeps the camera close as if the world were hemming in these characters. He and designer Matthew Davies make the dusty, snowy town feel as desolate as their lives while Canadian rock band Broken Social Scene supplies a restless musical accompaniment.
SNOW CAKE
Revolution Films/Rhombus Media
Credits:
Director: Marc Evans
Screenwriter: Angela Pell
Producers: Gina Carter, Jessica Daniel, Andrew Eaton, Niv Fichman
Executive producers: Robert Jones, Henry Normal, Michael Winterbottom, David M. Thompson, Steve Coogan
Director of photography: Steve Cosens
Production designer: Matthew Davies
Music: Broken Social Scene
Costume designer: Debra Hanson
Editor: Marguerite Arnold
Cast:
Alex Hughes: Alan Rickman
Linda Freeman: Sigourney Weaver
Maggie: Carrie-Anne Moss
Vivienne: Emily Hampshire
Clyde: James Allodi
No MPAA rating
Running time -- 112 minutes...
BERLIN -- "Snow Cake" tries to wring intimate drama and sweet epiphanies from a collection of oddball characters, peculiar circumstances and doubtful coincidences in a middle-of-nowhere Canadian town. The mental and physical landscape would do justice to an Atom Egoyan film, but in this film, written by Angela Pell and directed by Marc Evans, the key dramatic moments feel as forced as they are predictable.
This low-key Canadian-British production, the opening-night selection for the Berlin International Film Festival, has a chance at art house exposure with its cast of Alan Rickman, Sigourney Weaver and Carrie-Anne Moss, but theatrical opportunities will be limited.
Mostly, Pell presents characters out of sync with their lives, uncomfortable in their bodies and overly protective of their emotions. There is one live wire, but she must die early for these people to connect at all.
Young and over-caffeinated Vivienne (Emily Hampshire) is the sacrificial lamb in this fiction, a gregarious and talkative hitchhiker who is grudgingly picked up by the sour-faced and incommunicative Alex (Rickman), whose entire body sags under the weight of the baggage of his past.
As the two near her destination, a terrible car accident claims her life but leaves Alex with barely a scratch. Overwhelmed with remorse and guilt, even though the accident was not his fault, Alex seeks out Vivienne's mother, Linda (Weaver), who scarcely reacts to her daughter's death. This, he soon learns, is due to her autism. Only it's the kind of literary autism that allows her to make sagacious observations and funny remarks.
Linda does persuade Alex To stay the night, which turns into several more nights. It's enough time for Alex To begin an unlikely affair with beautiful neighbor Maggie (Moss), who is no more out of place in this environment than a three-star restaurant. And, wouldn't you know it, Maggie, too, has a past.
Everyone's past, none of which is nearly as interesting as the filmmakers seem to believe, gets chewed over in the coming days. Then there's a local cop (James Allodi), smitten with unrequited affection for Maggie, lurking ominously in the background, jealously festering over her swift embrace of this lonely drifter. It's a plot line without a payoff.
Performances here feel like performances. Rickman and Weaver have so carefully thought through their roles in such minute physical details that nothing feels spontaneous. By contrast, Moss is warm and natural, but her urban character is so underwritten and alarmingly out of place in this small town that all Maggie can do is act as a catalyst for other people's healing.
Cinematographer Steve Cosens often keeps the camera close as if the world were hemming in these characters. He and designer Matthew Davies make the dusty, snowy town feel as desolate as their lives while Canadian rock band Broken Social Scene supplies a restless musical accompaniment.
SNOW CAKE
Revolution Films/Rhombus Media
Credits:
Director: Marc Evans
Screenwriter: Angela Pell
Producers: Gina Carter, Jessica Daniel, Andrew Eaton, Niv Fichman
Executive producers: Robert Jones, Henry Normal, Michael Winterbottom, David M. Thompson, Steve Coogan
Director of photography: Steve Cosens
Production designer: Matthew Davies
Music: Broken Social Scene
Costume designer: Debra Hanson
Editor: Marguerite Arnold
Cast:
Alex Hughes: Alan Rickman
Linda Freeman: Sigourney Weaver
Maggie: Carrie-Anne Moss
Vivienne: Emily Hampshire
Clyde: James Allodi
No MPAA rating
Running time -- 112 minutes...
- 2/10/2006
- The Hollywood Reporter - Movie News
Screened at the Berlin International Film Festival
BERLIN -- "Snow Cake" tries to wring intimate drama and sweet epiphanies from a collection of oddball characters, peculiar circumstances and doubtful coincidences in a middle-of-nowhere Canadian town. The mental and physical landscape would do justice to an Atom Egoyan film, but in this film, written by Angela Pell and directed by Marc Evans, the key dramatic moments feel as forced as they are predictable.
This low-key Canadian-British production, the opening-night selection for the Berlin International Film Festival, has a chance at art house exposure with its cast of Alan Rickman, Sigourney Weaver and Carrie-Anne Moss, but theatrical opportunities will be limited.
Mostly, Pell presents characters out of sync with their lives, uncomfortable in their bodies and overly protective of their emotions. There is one live wire, but she must die early for these people to connect at all.
Young and over-caffeinated Vivienne (Emily Hampshire) is the sacrificial lamb in this fiction, a gregarious and talkative hitchhiker who is grudgingly picked up by the sour-faced and incommunicative Alex (Rickman), whose entire body sags under the weight of the baggage of his past.
As the two near her destination, a terrible car accident claims her life but leaves Alex with barely a scratch. Overwhelmed with remorse and guilt, even though the accident was not his fault, Alex seeks out Vivienne's mother, Linda (Weaver), who scarcely reacts to her daughter's death. This, he soon learns, is due to her autism. Only it's the kind of literary autism that allows her to make sagacious observations and funny remarks.
Linda does persuade Alex To stay the night, which turns into several more nights. It's enough time for Alex To begin an unlikely affair with beautiful neighbor Maggie (Moss), who is no more out of place in this environment than a three-star restaurant. And, wouldn't you know it, Maggie, too, has a past.
Everyone's past, none of which is nearly as interesting as the filmmakers seem to believe, gets chewed over in the coming days. Then there's a local cop (James Allodi), smitten with unrequited affection for Maggie, lurking ominously in the background, jealously festering over her swift embrace of this lonely drifter. It's a plot line without a payoff.
Performances here feel like performances. Rickman and Weaver have so carefully thought through their roles in such minute physical details that nothing feels spontaneous. By contrast, Moss is warm and natural, but her urban character is so underwritten and alarmingly out of place in this small town that all Maggie can do is act as a catalyst for other people's healing.
SNOW CAKE
Revolution Films/Rhombus Media
Credits:
Director: Marc Evans
Screenwriter: Angela Pell
Producers: Gina Carter, Jessica Daniel, Andrew Eaton, Niv Fichman
Executive producers: Robert Jones, Henry Normal, Michael Winterbottom, David M. Thompson, Steve Coogan
Director of photography: Steve Cosens
Production designer: Matthew Davies
Music: Broken Social Scene
Costume designer: Debra Hanson
Editor: Marguerite Arnold
Cast:
Alex Hughes: Alan Rickman
Linda Freeman: Sigourney Weaver
Maggie: Carrie-Anne Moss
Vivienne: Emily Hampshire
Clyde: James Allodi
No MPAA rating
Running time -- 112 minutes...
BERLIN -- "Snow Cake" tries to wring intimate drama and sweet epiphanies from a collection of oddball characters, peculiar circumstances and doubtful coincidences in a middle-of-nowhere Canadian town. The mental and physical landscape would do justice to an Atom Egoyan film, but in this film, written by Angela Pell and directed by Marc Evans, the key dramatic moments feel as forced as they are predictable.
This low-key Canadian-British production, the opening-night selection for the Berlin International Film Festival, has a chance at art house exposure with its cast of Alan Rickman, Sigourney Weaver and Carrie-Anne Moss, but theatrical opportunities will be limited.
Mostly, Pell presents characters out of sync with their lives, uncomfortable in their bodies and overly protective of their emotions. There is one live wire, but she must die early for these people to connect at all.
Young and over-caffeinated Vivienne (Emily Hampshire) is the sacrificial lamb in this fiction, a gregarious and talkative hitchhiker who is grudgingly picked up by the sour-faced and incommunicative Alex (Rickman), whose entire body sags under the weight of the baggage of his past.
As the two near her destination, a terrible car accident claims her life but leaves Alex with barely a scratch. Overwhelmed with remorse and guilt, even though the accident was not his fault, Alex seeks out Vivienne's mother, Linda (Weaver), who scarcely reacts to her daughter's death. This, he soon learns, is due to her autism. Only it's the kind of literary autism that allows her to make sagacious observations and funny remarks.
Linda does persuade Alex To stay the night, which turns into several more nights. It's enough time for Alex To begin an unlikely affair with beautiful neighbor Maggie (Moss), who is no more out of place in this environment than a three-star restaurant. And, wouldn't you know it, Maggie, too, has a past.
Everyone's past, none of which is nearly as interesting as the filmmakers seem to believe, gets chewed over in the coming days. Then there's a local cop (James Allodi), smitten with unrequited affection for Maggie, lurking ominously in the background, jealously festering over her swift embrace of this lonely drifter. It's a plot line without a payoff.
Performances here feel like performances. Rickman and Weaver have so carefully thought through their roles in such minute physical details that nothing feels spontaneous. By contrast, Moss is warm and natural, but her urban character is so underwritten and alarmingly out of place in this small town that all Maggie can do is act as a catalyst for other people's healing.
SNOW CAKE
Revolution Films/Rhombus Media
Credits:
Director: Marc Evans
Screenwriter: Angela Pell
Producers: Gina Carter, Jessica Daniel, Andrew Eaton, Niv Fichman
Executive producers: Robert Jones, Henry Normal, Michael Winterbottom, David M. Thompson, Steve Coogan
Director of photography: Steve Cosens
Production designer: Matthew Davies
Music: Broken Social Scene
Costume designer: Debra Hanson
Editor: Marguerite Arnold
Cast:
Alex Hughes: Alan Rickman
Linda Freeman: Sigourney Weaver
Maggie: Carrie-Anne Moss
Vivienne: Emily Hampshire
Clyde: James Allodi
No MPAA rating
Running time -- 112 minutes...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.