Ivan de Wiel, private banker from Geneva, Switzerland, arrives in Buenos Aires with his wife Inès. A military coup has plunged the country into turmoil. De Wiel is in Argentina to take over the business left behind by his banking partner René Keys (Alain Gegenschatz), who had disappeared without a trace in Andreas Fontana’s haunting Azor, co-written with Mariano Llinas.
1977 in A Book of Common Prayer Joan Didion writes: “The day Luis was shot Elena flew to exile in Geneva, a theatrical gesture but unnecessary, since even before her plane left the runway the coup was over and Little Victor had assumed temporary control of the government.” The characters inhabiting Didion’s invented Central American nation Boca Grande could...
1977 in A Book of Common Prayer Joan Didion writes: “The day Luis was shot Elena flew to exile in Geneva, a theatrical gesture but unnecessary, since even before her plane left the runway the coup was over and Little Victor had assumed temporary control of the government.” The characters inhabiting Didion’s invented Central American nation Boca Grande could...
- 12/30/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Andreas Fontana’s haunting Azor, co-written with Mariano Llinas, stars Fabrizio Rongione and Stéphanie Cléau: “The cinematography was done by Gabriel Sandru and we were talking a lot about that.”
Andreas Fontana’s Azor, co-written with Mariano Llinas, shot by Gabriel Sandru with costumes by Simona Martínez, stars Fabrizio Rongione and Stéphanie Cléau.
Andreas Fontana with Anne-Katrin Titze on Jorge Luis Borges: “Borges of course in terms of literary inspiration is very important.”
In my discussion with the director we touch on the influence of Howard Hawks and Jorge Luis Borges, Joan Didion’s codes and games, casting director Alexandre Nazarian, the cinematography, costumes, and filming in Argentina with non-professional actors, “men who are very impressive”.
Boredom is seen as “divine punishment,” old money...
Andreas Fontana’s Azor, co-written with Mariano Llinas, shot by Gabriel Sandru with costumes by Simona Martínez, stars Fabrizio Rongione and Stéphanie Cléau.
Andreas Fontana with Anne-Katrin Titze on Jorge Luis Borges: “Borges of course in terms of literary inspiration is very important.”
In my discussion with the director we touch on the influence of Howard Hawks and Jorge Luis Borges, Joan Didion’s codes and games, casting director Alexandre Nazarian, the cinematography, costumes, and filming in Argentina with non-professional actors, “men who are very impressive”.
Boredom is seen as “divine punishment,” old money...
- 12/29/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
An eerie, unsettling conspiracy drama about the ultra-wealthy from director Andreas Fontana, in which a Swiss banker navigates Argentina’s dirty war
50 best films of 2021 in the UKMore on the best culture of 2021
Pure evil is all around in this unnervingly subtle, sophisticated movie; it is a conspiracy drama-thriller, shot with a kind of desiccated blankness, about the occult world of super-wealth and things not to be talked about. The title is a Swiss banker’s codeword in conversation for “be silent”. It is set in 1980 in Argentina, at the time of the junta’s dirty war against leftists and dissidents. Azor gives a queasy new perspective on the horror of those times, and there is even a nauseous echo of the Swiss banks’ attitude to their German neighbours in the second world war.
Yvan (Fabrizio Rongione) is a private banker from Geneva – elegant, discreet, an excellent speaker of Spanish,...
50 best films of 2021 in the UKMore on the best culture of 2021
Pure evil is all around in this unnervingly subtle, sophisticated movie; it is a conspiracy drama-thriller, shot with a kind of desiccated blankness, about the occult world of super-wealth and things not to be talked about. The title is a Swiss banker’s codeword in conversation for “be silent”. It is set in 1980 in Argentina, at the time of the junta’s dirty war against leftists and dissidents. Azor gives a queasy new perspective on the horror of those times, and there is even a nauseous echo of the Swiss banks’ attitude to their German neighbours in the second world war.
Yvan (Fabrizio Rongione) is a private banker from Geneva – elegant, discreet, an excellent speaker of Spanish,...
- 12/8/2021
- by Peter Bradshaw
- The Guardian - Film News
Close-Up is a feature that spotlights films now playing on Mubi. Andreas Fontana's Azor is exclusively showing on Mubi in many countries starting December 3, 2021 in the series Debuts.In Carol Reed's The Third Man, Harry Lime—for so much of the film a semi-mythic spectre—reaches about for a metaphor for worthy, peaceable dullness to contrast with the culturally fertile ferment of Renaissance-era Italy. He comes up with Switzerland. "In Switzerland," he drawls, in that infuriatingly amused, contemptuous baritone of his, "They had brotherly love, and they had 500 years of democracy and peace. And what did that produce? The cuckoo clock." Swiss director Andreas Fontana's Azor, an impossibly accomplished feature debut in which the character of René Keys becomes a structuring absence to rival Lime's, challenges that assertion. And not just because, as we've all been made aware by the tsk-ing of a thousand pedants since, the cuckoo clock actually originates in Bavaria.
- 12/3/2021
- MUBI
Andreas Fontana’s exquisite, quietly dazzling feature Azor answers a question we didn’t know we had: how to make a mystery—a thriller, even—set in the world of private banking. Partly: it’s about the arrival of a Swiss banker, Yvan De Wiel (Fabrizio Rongione), in early 1980s Buenos Aires, when Argentina is still in the grip of dictatorship. De Wiel is there to take on the wealthy (and suspicious) clients of a colleague, Keys, who has disappeared, leaving a flamboyant reputation. Often accompanied by his wife, Inès (Stéphanie Cléau), he’s left to navigate the already murky areas of hush-hush finance under the […]
The post “In Switzerland, We All Benefit From the Bank”: Andreas Fontana on Azor first appeared on Filmmaker Magazine.
The post “In Switzerland, We All Benefit From the Bank”: Andreas Fontana on Azor first appeared on Filmmaker Magazine.
- 9/10/2021
- by Nicolas Rapold
- Filmmaker Magazine-Director Interviews
“Show, don’t tell,” says conventional wisdom. “Conceal, conceal, conceal” responds director Andreas Fontana, whose debut feature “Azor” paints a portrait of fear using palpable gaps in conversation. As a Swiss banker, Yvan (Fabrizio Rongione) follows in the footsteps of his missing colleague, and Fontana’s self-assured filmmaking captures a chilling atmosphere against the backdrop of Argentina’s Dirty War. The film seldom wavers from its singular idea and feeling; tonally, it’s a stroll across a plateau by design, but it teeters constantly over that plateau’s edge.
A false tropical backdrop and washed-out footage of a well-dressed man with a forced smile yank us into the story and its permeating sense of artifice. Perhaps this man is Yvan’s missing business partner, or perhaps he is the idea of an influential outsider under the thumb of vastly more influential local forces. This is the world Yvan enters with...
A false tropical backdrop and washed-out footage of a well-dressed man with a forced smile yank us into the story and its permeating sense of artifice. Perhaps this man is Yvan’s missing business partner, or perhaps he is the idea of an influential outsider under the thumb of vastly more influential local forces. This is the world Yvan enters with...
- 9/8/2021
- by Siddhant Adlakha
- Indiewire
"Act as simple as you can, my dear." Mubi has released an official trailer for an intriguing film titled Azor, which first premiered at the 2021 Berlin Film Festival earlier this year. It's described as a "political thriller" but it's unlike any other political thriller. Yvan De Wiel, a private banker from Geneva, goes to Argentina in the midst of a dictatorship to replace his partner, the object of the most worrying rumours, who disappeared overnight. It's set during a tumultuous time in Argentina in the 1970s, all about the power play of money. "In his remarkably assured debut, Swiss director Andreas Fontana invites us into this seductive, moneyed world where political violence simmers just under the surface." It's co-written by Argentinian filmmaker Mariano Llinás (La Flor), and is "a riveting look at international intrigue worthy of John le Carré or Graham Greene." Starring Fabrizio Rongione, Stéphanie Cléau, Elli Medeiros, and Alexandre Trocki.
- 7/28/2021
- by Alex Billington
- firstshowing.net
The festival seasons have been so crowded—blame a world-ending pandemic that pushes premiere after premiere into the same ten-day spans—that something as uniformly admired as Azor needs a second to breathe. Andreas Fontana’s political thriller, co-written by the brilliant Mariano Llinás (La Flor), immerses us in ’70s Argentina and the backroom dealings of a banker replacing his mysteriously (murderously?) vanished predecessor. As Mark Asch said out of Nd/Nf, “a film of almost Le Carréan subtlety, of oblique plotting, crouching dialogue, and guarded performances masking sinister realpolitik.”
An excellent first trailer has arrived from Mubi, who will release Azor stateside on September 10. On full display is what Asch called its “handsome, in tasteful wood-varnish browns and billiards-felt greens” aesthetic, more than a few shots that merit a rewind and pause, and promise of—dare we say?—dealings deeper than meet the eye.
See our exclusive premiere of...
An excellent first trailer has arrived from Mubi, who will release Azor stateside on September 10. On full display is what Asch called its “handsome, in tasteful wood-varnish browns and billiards-felt greens” aesthetic, more than a few shots that merit a rewind and pause, and promise of—dare we say?—dealings deeper than meet the eye.
See our exclusive premiere of...
- 7/28/2021
- by Leonard Pearce
- The Film Stage
An almost suffocating air of secrecy permeates Azor, a Swiss-Argentinean coproduction concerning the mutual suspicion and damnable complicity of patrician North Atlantic capitalism and repressive regimes in the postcolonial Global South. The year is 1980, and a private banker from Geneva circulates among the Buenos Aires elite. This is at the height of the Dirty War, though so absolute is the Swiss banker’s discretion—so clean his hands—that the military junta’s crimes against its people feel as suggestively peripheral to the film’s narrative as the word “disappeared” implies. Filmmaker Andreas Fontana’s debut feature is a film of almost Le Carréan subtlety, of oblique plotting, crouching dialogue, and guarded performances masking sinister realpolitik.
Yvan De Wiel (Fabrizio Rongione), the third-generation scion of a Swiss private banking family—as Fontana himself is—arrives in Argentina with his wife Ines (Stéphanie Cléau), to meet with clients and colleagues: landowners,...
Yvan De Wiel (Fabrizio Rongione), the third-generation scion of a Swiss private banking family—as Fontana himself is—arrives in Argentina with his wife Ines (Stéphanie Cléau), to meet with clients and colleagues: landowners,...
- 5/2/2021
- by Mark Asch
- The Film Stage
Following on an initial sale to Mubi for U.S., U.K, Italy, Turkey and India, Brussels-based sales agency Be For Films has clinched its first tranche of sales to international distributors on Berlinale Encounters title “Azor,” the first feature from Swiss talent to track Andreas Fontana.
In new sales, Pamela Leu at Be For Films, part of the pan-European Playtime Group, has closed Spain (Vitrine Filmes), Portugal (Legendmain Filmes), Greece (Cinobo), Cis (Capella Film), China (Huanxi Media Group), Brazil (Vitrine Filmes) and, just this week, Switzerland (Xenix Filmdistribution).
The news deals mean that “Azor” has sold more of less half of the 15 major territories in the world.
“Azor” is produced by Eugenia Mumenthaler and David Epiney from Alina Film and co-produced by France’s Local Films, Argentina’s Ruda Cine and Swiss public broadcaster Rts.
The deals also show “Azor” shaping up as one of the standout Swiss titles...
In new sales, Pamela Leu at Be For Films, part of the pan-European Playtime Group, has closed Spain (Vitrine Filmes), Portugal (Legendmain Filmes), Greece (Cinobo), Cis (Capella Film), China (Huanxi Media Group), Brazil (Vitrine Filmes) and, just this week, Switzerland (Xenix Filmdistribution).
The news deals mean that “Azor” has sold more of less half of the 15 major territories in the world.
“Azor” is produced by Eugenia Mumenthaler and David Epiney from Alina Film and co-produced by France’s Local Films, Argentina’s Ruda Cine and Swiss public broadcaster Rts.
The deals also show “Azor” shaping up as one of the standout Swiss titles...
- 3/31/2021
- by John Hopewell
- Variety Film + TV
The first thing one notices about “Azor” is how real it feels: the entitlement, the encyclopedic knowledge of “good” families, the multilingual fluency, the bonhomie of power. The main characters are a Swiss private banker and his wife, and it comes as no surprise to learn that director Andreas Fontana is himself the grandson of a Swiss private banker – he knows this milieu very well, and how those inside look at the world. It’s because every line uttered, every glance and body gesture, is so right that Fontana can take such a hermetic bubble, connect it with Argentina in 1980 when the military junta was flexing its murderous muscle, and turn it into a supremely confident debut. Even if this environment will be foreign to most viewers, “Azor” builds the mystery with such engrossing cleverness that the film should easily attract art-house audiences.
Private banker Yvan De Wiel (Fabrizio Rongione...
Private banker Yvan De Wiel (Fabrizio Rongione...
- 3/12/2021
- by Jay Weissberg
- Variety Film + TV
In a festival where one typically expects a film debut to be youthfully unkempt and overeager, the Swiss director Andreas Fontana has premiered something most unusual with the sly and intriguing Azor: A debut that is well-composed, consummately controlled, and carefully discreet. But perhaps this approach is in order to so perfectly fit its subject matter, which is the glossy surface—all suits and business-speak—of private banking for deplorable people.Set in 1980, the film follows Swiss banker Yvan De Wiel (Fabrizio Rongione), who has been sent to Argentina to make the rounds with his firm’s private clientele, picking up the pieces left by his predecessor, currently missing. De Wiel is traveling with his elegant wife (Stéphanie Cléau) at his side, and together the pair are like finance’s Nick and Nora, securing accounts and inquiring after the bank’s missing partner with cocktails in hand. As she advises...
- 3/4/2021
- MUBI
Andreas Fontana’s impressive debut feature takes us into the murky world of private banking and makes matters even murkier by portraying the financial wheeling and dealing of his protagonist with a host of dodgy characters in 1970s Argentina. The military dictatorship is taking people off the streets, people are disappearing, and the Argentine Catholic Church has priests who are ardent followers of the stock exchange and are willing to see any potential threat to their wealth eradicated.
This has all the makings of a racy political thriller, but Fontana prefers to play it cool. His focus is on Yvan De Wiel (Fabrizio Rongione), a Swiss banker from a long line of Swiss bankers. He is quietly and elegantly handsome and he has brought his wife Inés (Stéphanie Cléau) along for the trip, a journey intended to placate the bank’s clients and keep them on after his partner, the ‘dissolute’ and ‘depraved’ René Keys,...
This has all the makings of a racy political thriller, but Fontana prefers to play it cool. His focus is on Yvan De Wiel (Fabrizio Rongione), a Swiss banker from a long line of Swiss bankers. He is quietly and elegantly handsome and he has brought his wife Inés (Stéphanie Cléau) along for the trip, a journey intended to placate the bank’s clients and keep them on after his partner, the ‘dissolute’ and ‘depraved’ René Keys,...
- 3/3/2021
- by Jo-Ann Titmarsh
- HeyUGuys.co.uk
International sales agent Be For Films has given Variety exclusive access to the international trailer for Andreas Fontana’s first feature “Azor,” selected for this year’s Encounters section at the Berlin International Film Festival. Set among the world of international banking in the 1980’s, Fontana describes his debut as being “like a film about conquistadors.”
The film uses French, Spanish and English dialogue to tell the trans-Atlantic story of Yvan De Wiel, a private banker from Geneva. Yvan visits Argentina during the Junta dictatorship to replace his partner, who mysteriously disappeared one night leaving few clues behind. As he maneuvers among Argentina’s elite, offering rich shots of ballrooms, posh hotels, massive gardens and swanky lounges, the banker plays a dangerous political game of modern capitalist colonization.
In the trailer, we get a taste of the conquistador attitude Fontana refers to as Yvan uses the arrival of Hernan Cortes...
The film uses French, Spanish and English dialogue to tell the trans-Atlantic story of Yvan De Wiel, a private banker from Geneva. Yvan visits Argentina during the Junta dictatorship to replace his partner, who mysteriously disappeared one night leaving few clues behind. As he maneuvers among Argentina’s elite, offering rich shots of ballrooms, posh hotels, massive gardens and swanky lounges, the banker plays a dangerous political game of modern capitalist colonization.
In the trailer, we get a taste of the conquistador attitude Fontana refers to as Yvan uses the arrival of Hernan Cortes...
- 2/26/2021
- by Jamie Lang
- Variety Film + TV
This year’s Berlin International Film Festival will look a bit different this year, with a virtual edition taking place March 1-5 for industry and press, then a public, in-person edition kicking off in June.
The complete lineup has now been unveiled, including Céline Sciamma’s highly-anticipated Portrait of a Lady on Fire follow-up Petite Maman, a surprise new Hong Sang-soo feature, the latest work from Ryūsuke Hamaguchi, along with new projects by Radu Jude, Xavier Beauvois, Dominik Graf, Pietro Marcello, Ramon Zürcher & Silvan Zürcher, and more.
Check out each section below.
Competition Tiles
“Albatros” (Drift Away)
France
by Xavier Beauvois
with Jérémie Renier, Marie-Julie Maille, Victor Belmondo
“Babardeală cu buclucsau porno balamuc” (Bad Luck Banging or Loony Porn)
Romania/Luxemburg/Croatia/Czech Republic
by Radu Jude
with Katia Pascariu, Claudia Ieremia, Olimpia Mălai
“Fabian oder Der Gang vor die Hunde” (Fabian – Going to the Dogs)
Germany
by Dominik Graf
with Tom Schilling,...
The complete lineup has now been unveiled, including Céline Sciamma’s highly-anticipated Portrait of a Lady on Fire follow-up Petite Maman, a surprise new Hong Sang-soo feature, the latest work from Ryūsuke Hamaguchi, along with new projects by Radu Jude, Xavier Beauvois, Dominik Graf, Pietro Marcello, Ramon Zürcher & Silvan Zürcher, and more.
Check out each section below.
Competition Tiles
“Albatros” (Drift Away)
France
by Xavier Beauvois
with Jérémie Renier, Marie-Julie Maille, Victor Belmondo
“Babardeală cu buclucsau porno balamuc” (Bad Luck Banging or Loony Porn)
Romania/Luxemburg/Croatia/Czech Republic
by Radu Jude
with Katia Pascariu, Claudia Ieremia, Olimpia Mălai
“Fabian oder Der Gang vor die Hunde” (Fabian – Going to the Dogs)
Germany
by Dominik Graf
with Tom Schilling,...
- 2/11/2021
- by Jordan Raup
- The Film Stage
Day 3 of this year’s Berlinale announcements contain the line-ups for Encounters, Panorama and Perspektive Deutsches Kino. Check back in tomorrow for the Competition program.
Encounters was first introduced at last year’s festival to support new voices in cinema. A three-member jury will award Best Film, Best Director and a Special Jury Award during the industry event in March, with the prizes handed out physically at the summer event.
The selection consists of 12 titles from 16 countries, including seven debuts. Scroll down for the full list.
Over in Panorama, there are 19 titles including 14 world premieres. Several titles arrive from Sundance such as Prano Bailey-Bond’s UK feature Censor and Ronny Trocker’s Human Factors.
Perspektive Deutsches Kino will again present new views on German cinema, with six titles, all of which are world premieres. The full lists are below.
This week so far has seen the Generation, Retrospective, Forum, Forum Expanded and Shorts programs announced.
Encounters was first introduced at last year’s festival to support new voices in cinema. A three-member jury will award Best Film, Best Director and a Special Jury Award during the industry event in March, with the prizes handed out physically at the summer event.
The selection consists of 12 titles from 16 countries, including seven debuts. Scroll down for the full list.
Over in Panorama, there are 19 titles including 14 world premieres. Several titles arrive from Sundance such as Prano Bailey-Bond’s UK feature Censor and Ronny Trocker’s Human Factors.
Perspektive Deutsches Kino will again present new views on German cinema, with six titles, all of which are world premieres. The full lists are below.
This week so far has seen the Generation, Retrospective, Forum, Forum Expanded and Shorts programs announced.
- 2/10/2021
- by Tom Grater
- Deadline Film + TV
Mubi is exclusively showing Mathieu Amalric's The Blue Room (2014) in the United Kingdom from September 25 - October 24, 2016. “If he has one consistent trait as a novelist it is his tendency to regard women, or Woman, at least, as a terrifying phenomenon, a demon ranging in a kind of erotic fury through the world of men, at once irresistible and destructive.”—John Banville on Georges Simenon“It was true. At that time, everything was true, for he was living in the moment, without questioning anything, without trying to understand, without suspecting that one day he would need to understand.” —Georges Simenon, The Blue RoomIt came and it went. I confess I’d forgotten all about The Blue Room. On second thought, I’m not sure I even knew of it in the first place. When the film appeared on Mubi, as part of a short season of films made by or starring Mathieu Amalric,...
- 10/13/2016
- MUBI
Mathieu Amalric’s erotic, claustrophobic thriller is as chilly as its title implies
A lean little erotic thriller, The Blue Room leads us on a dance of misdirection; an unfolding police investigation leaves us guessing until the final moment just what exactly happened when an illicit love affair turned bad. Mathieu Amalric both directs and stars in a sleek mystery that creates a sense of claustrophobic suspense with a Hitchcockian score and framing that constantly puts its characters in boxes. The blue room itself, the hotel suite where the assignations between Amalric and his lover, Stéphanie Cléau, take place, informs the colour palette of the film – the chilly tones leach out into the interrogation room and the court. However, for all its style, the film’s eventual conclusion seems a little cursory and abrupt.
Continue reading...
A lean little erotic thriller, The Blue Room leads us on a dance of misdirection; an unfolding police investigation leaves us guessing until the final moment just what exactly happened when an illicit love affair turned bad. Mathieu Amalric both directs and stars in a sleek mystery that creates a sense of claustrophobic suspense with a Hitchcockian score and framing that constantly puts its characters in boxes. The blue room itself, the hotel suite where the assignations between Amalric and his lover, Stéphanie Cléau, take place, informs the colour palette of the film – the chilly tones leach out into the interrogation room and the court. However, for all its style, the film’s eventual conclusion seems a little cursory and abrupt.
Continue reading...
- 9/11/2016
- by Wendy Ide
- The Guardian - Film News
★★★★☆ Set in a provincial town in the great rural expanses of western France, there's a debilitating claustrophobia to Mathieu Amalric's The Blue Room, a tightly coiled retelling of the 1964 Georges Simenon novel. Surrounded by verdant fields and miles of open road, with seclusion comes isolation, and lashings of heavy rain. It is seduction that sees the actor-director's character, Julien, become inextricably entwined in an ill-fated and ever more sinister spiral of lust and adulterous behaviour with mistress, Esther (Stéphanie Cléau, a co-writer with Amalric).
- 9/7/2016
- by CineVue
- CineVue
"Do you believe in destiny? An official trailer has premiered for Pierre Godeau's Down By Love, a French film starring actress Adele Exarchopoulos made famous by starring in Blue is the Warmest Color (she won the Most Promising Actress Cesar Award in 2014). Exarchopoulos plays a inmate at a prison, and the story profiles her and the prison warden falling in love. It's obviously a trick topic and apparently it's based on a true story, which makes this even more interesting to see turned into a movie. Guillaume Gallienne stars with Stéphanie Cléau. This trailer has English subtitles to help understand the story. Take a look. Here's the first potentially-nsfw trailer for Pierre Godeau's Down By Love, from YouTube (via Tfs): Based on a true story, the impossible love between a prison director and one of its female inmates. A man, a woman. A prison director, his inmate.
- 6/7/2016
- by Alex Billington
- firstshowing.net
Exclusive: Svod service adds six titles, including Berlin Panorama opener I, Olga and Mathieu Amalric drama; theatrical, UK and Us deals among haul.
Ambitious Svod service Mubi has secured world digital rights to two titles and UK theatrical and digital rights on four more.
Mubi has secured all UK and Ireland rights for Berlinale Panorama opener I, Olga, Tomas Weinreb and Petr Kazda’s intense re-telling of the Czech murderess Olga Hepnarova, set in 1970s Prague.
Mubi will premiere the feature in cinemas and on the service in the coming months.
Mubi has secured rights in Us, UK and Ireland for Rachel Lang’s feature length debut, Baden Baden, and also rights in the UK and Ireland for Eugène Green’s latest feature, Son Of Joseph. They will both premiere in cinemas and on the service later this year.
The company has inked global digital rights on Luis Lopez-Carrasco’s experimental 80s-set Locarno 2013 title El Futuro...
Ambitious Svod service Mubi has secured world digital rights to two titles and UK theatrical and digital rights on four more.
Mubi has secured all UK and Ireland rights for Berlinale Panorama opener I, Olga, Tomas Weinreb and Petr Kazda’s intense re-telling of the Czech murderess Olga Hepnarova, set in 1970s Prague.
Mubi will premiere the feature in cinemas and on the service in the coming months.
Mubi has secured rights in Us, UK and Ireland for Rachel Lang’s feature length debut, Baden Baden, and also rights in the UK and Ireland for Eugène Green’s latest feature, Son Of Joseph. They will both premiere in cinemas and on the service later this year.
The company has inked global digital rights on Luis Lopez-Carrasco’s experimental 80s-set Locarno 2013 title El Futuro...
- 4/5/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Wes Anderson's adaptation of Roald Dahl's Fantastic Mr. Fox, co-written with Noah Baumbach, will be presented by Anne-Katrin Titze
The Blue Room director Mathieu Amalric and his co-star Stéphanie Cléau, will take part in a Q&A to kick off the CinéSalon programme Mathieu Amalric: Renaissance Man at the French Institute Alliance Française in New York. Other highlights include Julian Schnabel's The Diving Bell And The Butterfly, Arnaud Desplechin's My Sex Life…or How I Get Into an Argument, with Emmanuelle Devos, Jeanne Balibar and Marianne Denicourt, which is Desplechin's complement to My Golden Days (Trois Souvenirs De Ma Jeunesse), and Fantastic Mr. Fox with the voices of Meryl Streep and George Clooney dubbed in French by Isabelle Huppert and Mathieu Amalric, who was also featured in Wes Anderson's The Grand Budapest Hotel.
Mathieu Amalric is the French Fantastic Mr. Fox Photo: Anne-Katrin Titze...
The Blue Room director Mathieu Amalric and his co-star Stéphanie Cléau, will take part in a Q&A to kick off the CinéSalon programme Mathieu Amalric: Renaissance Man at the French Institute Alliance Française in New York. Other highlights include Julian Schnabel's The Diving Bell And The Butterfly, Arnaud Desplechin's My Sex Life…or How I Get Into an Argument, with Emmanuelle Devos, Jeanne Balibar and Marianne Denicourt, which is Desplechin's complement to My Golden Days (Trois Souvenirs De Ma Jeunesse), and Fantastic Mr. Fox with the voices of Meryl Streep and George Clooney dubbed in French by Isabelle Huppert and Mathieu Amalric, who was also featured in Wes Anderson's The Grand Budapest Hotel.
Mathieu Amalric is the French Fantastic Mr. Fox Photo: Anne-Katrin Titze...
- 10/24/2015
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Director and star Mathieu Amalric in The Blue Room: "I thought a lot of the usual suspects. A man sitting and looking, and he is not listening."
Mathieu Amalric's The Blue Room (La Chambre Bleue) is based on Georges Simenon's novel. Amalric stars with Stéphanie Cléau, Léa Drucker with Serge Bozon, Mona Jaffart, Laurent Poitrenaux and Blutch in his whodunnit with a question mark for each molded part - the who, the done and especially the it.
David Lynch's Lost Highway - William Holden's death - Gene Hackman and Kevin Costner in Roger Donaldson's No Way Out form a thread. Katharine Hepburn on a ladder climbing up to Cary Grant in Howard Hawks' Bringing Up Baby, editing with François Gédigier and Bozon's voice are heard in part 2 of our conversation.
Anne-Katrin Titze: You mentioned how quickly Simenon wrote the book and you also said...
Mathieu Amalric's The Blue Room (La Chambre Bleue) is based on Georges Simenon's novel. Amalric stars with Stéphanie Cléau, Léa Drucker with Serge Bozon, Mona Jaffart, Laurent Poitrenaux and Blutch in his whodunnit with a question mark for each molded part - the who, the done and especially the it.
David Lynch's Lost Highway - William Holden's death - Gene Hackman and Kevin Costner in Roger Donaldson's No Way Out form a thread. Katharine Hepburn on a ladder climbing up to Cary Grant in Howard Hawks' Bringing Up Baby, editing with François Gédigier and Bozon's voice are heard in part 2 of our conversation.
Anne-Katrin Titze: You mentioned how quickly Simenon wrote the book and you also said...
- 10/9/2014
- by Anne-Katrin Titze
- eyeforfilm.co.uk
New York Film Festival selection committee member Marian Masone with Mathieu Amalric Photo: Anne-Katrin Titze
Literary works are big at the 52nd New York Film Festival, as we reach the midpoint. Some take the shape of adaptations, such as the two world premieres, David Fincher's Gone Girl, starring Rosamund Pike and Ben Affleck, based on Gillian Flynn's best seller; and Paul Thomas Anderson's delirious Inherent Vice, starring Joaquin Phoenix and Josh Brolin, based on the only Thomas Pynchon novel ever put on screen. Mathieu Amalric's The Blue Room (La Chambre Bleue), with Stéphanie Cléau, is based on Georges Simenon's novel; and Bertrand Bonello's Saint Laurent with Gaspard Ulliel and Helmut Berger as the two faces of Yves Saint Laurent, begins with a Proust reference. Friedrich Schiller's misadventures in Beloved Sisters added to the literary tenor.
Saint Laurent director Bertrand Bonello: "I wanted to do this scene,...
Literary works are big at the 52nd New York Film Festival, as we reach the midpoint. Some take the shape of adaptations, such as the two world premieres, David Fincher's Gone Girl, starring Rosamund Pike and Ben Affleck, based on Gillian Flynn's best seller; and Paul Thomas Anderson's delirious Inherent Vice, starring Joaquin Phoenix and Josh Brolin, based on the only Thomas Pynchon novel ever put on screen. Mathieu Amalric's The Blue Room (La Chambre Bleue), with Stéphanie Cléau, is based on Georges Simenon's novel; and Bertrand Bonello's Saint Laurent with Gaspard Ulliel and Helmut Berger as the two faces of Yves Saint Laurent, begins with a Proust reference. Friedrich Schiller's misadventures in Beloved Sisters added to the literary tenor.
Saint Laurent director Bertrand Bonello: "I wanted to do this scene,...
- 10/5/2014
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Blue Room director Mathieu Amalric with Anne-Katrin Titze: "What is incredible is that, yes, the bee is in [George Simenon's] novel on the belly." Photo: Charlie Olsky
Mathieu Amalric's The Blue Room (La Chambre Bleue), based on Georges Simenon's novel, stars Stéphanie Cléau, Léa Drucker with Serge Bozon, Mona Jaffart, Laurent Poitrenaux and Blutch. Amalric recently starred with Emmanuelle Seigner in Roman Polanski's Venus in Fur.
The morning after the North American premiere at the New York Film Festival, we discussed Simenon's love of Stendahl, leaving a message for composer John Zorn, Katharine Hepburn on a ladder, adapting Eric Reinhardt for the stage, William Holden's death in connection to David Lynch, Gene Hackman and Kevin Costner, bees and shoes.
Léa Drucker as Delphine Gahyde
Vladimir Nabokov warned in Transparent Things "When we concentrate on a material object, whatever its situation, the very act of attention may...
Mathieu Amalric's The Blue Room (La Chambre Bleue), based on Georges Simenon's novel, stars Stéphanie Cléau, Léa Drucker with Serge Bozon, Mona Jaffart, Laurent Poitrenaux and Blutch. Amalric recently starred with Emmanuelle Seigner in Roman Polanski's Venus in Fur.
The morning after the North American premiere at the New York Film Festival, we discussed Simenon's love of Stendahl, leaving a message for composer John Zorn, Katharine Hepburn on a ladder, adapting Eric Reinhardt for the stage, William Holden's death in connection to David Lynch, Gene Hackman and Kevin Costner, bees and shoes.
Léa Drucker as Delphine Gahyde
Vladimir Nabokov warned in Transparent Things "When we concentrate on a material object, whatever its situation, the very act of attention may...
- 10/1/2014
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Opening Night – World Premiere
Gone Girl
David Fincher, USA, 2014, Dcp, 150m
David Fincher’s film version of Gillian Flynn’s phenomenally successful best seller (adapted by the author) is one wild cinematic ride, a perfectly cast and intensely compressed portrait of a recession-era marriage contained within a devastating depiction of celebrity/media culture, shifting gears as smoothly as a Maserati 250F. Ben Affleck is Nick Dunne, whose wife Amy (Rosamund Pike) goes missing on the day of their fifth anniversary. Neil Patrick Harris is Amy’s old boyfriend Desi, Carrie Coon (who played Honey in Tracy Letts’s acclaimed production of Who’s Afraid of Virginia Woolf?) is Nick’s sister Margo, Kim Dickens (Treme, Friday Night Lights) is Detective Rhonda Boney, and Tyler Perry is Nick’s superstar lawyer Tanner Bolt. At once a grand panoramic vision of middle America, a uniquely disturbing exploration of the fault lines in a marriage,...
Gone Girl
David Fincher, USA, 2014, Dcp, 150m
David Fincher’s film version of Gillian Flynn’s phenomenally successful best seller (adapted by the author) is one wild cinematic ride, a perfectly cast and intensely compressed portrait of a recession-era marriage contained within a devastating depiction of celebrity/media culture, shifting gears as smoothly as a Maserati 250F. Ben Affleck is Nick Dunne, whose wife Amy (Rosamund Pike) goes missing on the day of their fifth anniversary. Neil Patrick Harris is Amy’s old boyfriend Desi, Carrie Coon (who played Honey in Tracy Letts’s acclaimed production of Who’s Afraid of Virginia Woolf?) is Nick’s sister Margo, Kim Dickens (Treme, Friday Night Lights) is Detective Rhonda Boney, and Tyler Perry is Nick’s superstar lawyer Tanner Bolt. At once a grand panoramic vision of middle America, a uniquely disturbing exploration of the fault lines in a marriage,...
- 8/20/2014
- by Notebook
- MUBI
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