If you have Hulu (or Disney Star in Canada), you might have noticed that Danny Boyle’s 28 Days Later is no longer available. Indeed, Disney lost the rights to the independently financed original film, with them now only owning the rights to the Searchlight-financed sequel, 28 Weeks Later. That’s why you can’t find it on streaming sites and why the Blu-ray Disc is out of print. Sony now owns the rights to the film, with it being part of the package they acquired when they bought the rights to finance the upcoming Danny Boyle/ Alex Garland sequel, 28 Years Later. So, presumably, Sony will be reissuing the film in the near future, and there’s a chance that when they do, it’ll look much better than it ever did before. But why?
28 Days Later (2003) was shot with primitive digital tech:
Yesterday, we ran a story...
28 Days Later (2003) was shot with primitive digital tech:
Yesterday, we ran a story...
- 6/2/2024
- by Chris Bumbray
- JoBlo.com
Danny Boyle's lo-fi 2002 zombie apocalypse film "28 Days Later" caused a stir in the horror community for its grainy digital photography (shot by Anthony Dod Mantle) and for its introduction of "fast zombies" into the pop vernacular. The zombies in "28 Days Later" were, unlike most movie zombies seen up to that point, fast-moving and vicious rather than mindless and shambling. It is credited for breathing new life into the zombie genre, followed as it was by other zombie hits like the "Dawn of the Dead" remake, George Romero's "Land of the Dead," and the hit 2010 series "The Walking Dead." "28 Days Later" also tapped into a lot of America's post-9/11 ennui, presenting hard-edged images of urban desolation. Everyone felt like the world had ended, and Boyle aesthetically agreed.
"28 Days Later," penned by "Civil War" director Alex Garland, was followed by a sequel in 2007 called "28 Weeks Later,...
"28 Days Later," penned by "Civil War" director Alex Garland, was followed by a sequel in 2007 called "28 Weeks Later,...
- 4/24/2024
- by Witney Seibold
- Slash Film
“Oppenheimer” lenser Hoyte van Hoytema took top honors from the American Society of Cinematographers on Sunday. He edged out all four of his Oscar rivals for Best Cinematography: Edward Lachman (“El Conde”), Matthew Libatique (“Maestro”), Rodrigo Prieto (“Killers of the Flower Moon”) and Robbie Ryan (“Poor Things”).
Over its 38-year history, the ASC has predicted 152 of the 190 Oscar nominees, including four in 2019, 2020 and 2021 and all five this year and in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall,...
Over its 38-year history, the ASC has predicted 152 of the 190 Oscar nominees, including four in 2019, 2020 and 2021 and all five this year and in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall,...
- 3/4/2024
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on January 11 include only four of our five leading Oscar contenders for Best Cinematography: frontrunner Hoyte van Hoytema for “Oppenheimer”plus Matthew Libatique (“Maestro”), Rodrigo Prieto (“Killers of the Flower Moon”) and Robbie Ryan (“Poor Things”). Our other predicted nominee, Łukasz Zal (“The Zone of Interest”), got bumped by Edward Lachman (“El Conde”).
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll,...
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll,...
- 1/11/2024
- by Paul Sheehan
- Gold Derby
No reasonably intelligent person imagines an artist’s statement about the horrors in Gaza would, in fact, end those horrors, but there are always limits to what one can take and hopes for what one could do. It might even be said that, as observers of the world and human behavior, filmmakers are especially inclined to recoil. When I interviewed Pedro Costa last month he spoke, unprompted, of a situation that’s only grown worse: “It’s very clear that we cannot stand images anymore. I can’t. I can’t. The images of the world for me [Exhales] I can’t. I turn my eyes, and I’m sure you do the same. It’s unbearable.” When I spoke with Anthony Dod Mantle a couple of weeks later it, again, emerged––vis-a-vis The Zone of Interest, whose own cinematographer alluded to it the next day. It’s difficult being a person in the world,...
- 12/29/2023
- by Nick Newman
- The Film Stage
Seeing Anthony Dod Mantle’s name on EnergaCAMERIMAGE’s guest list, I had some instinct we should talk. Few cinematographers in my (or yours or anyone’s) lifetime have rejigged what that job means, what it might do, and how people––in direct terms or on the most subconscious levels––think about it. Just a glance at his credits is dizzying: there’s the radical approach to visual storytelling in Thomas Vinterberg’s The Celebration, a movie people still try to even approach emulating; Harmony Korine’s Julien-Donkey Boy, which almost looks like The Celebration expect for the fact that it looks like literally nothing else; there’s mainstream cinema’s major introduction to digital images in 28 Days Later, the early stage of a Danny Boyle partnership that leads to Oscars for Slumdog Millionaire; somewhere along the way he shoots two Ron Howard films that suggest the director discovered experimental cinema; and,...
- 12/19/2023
- by Nick Newman
- The Film Stage
The New Boy — the story of a young Aboriginal Australian orphan boy that was written, directed and lensed by Warwick Thornton — collected the Golden Frog in the main competition of the 31st EnergaCamerimage international cinematography film festival, which closed Saturday night in Torún, Poland.
Cinematographer Ed Lachman received the Silver Frog for Pablo Larraín’s El Conde, which positions Chilean dictator Augusto Pinochet as a vampire. Robbie Ryan’s lensing of Yorgos Lanthimos’ Poor Things, the story of a young woman (Emma Stone) brought back to life by an unorthodox scientist, claimed the Bronze Frog as well as the Audience Award. (Ryan collected the Golden Frog two years ago, for Mike Mills’ C’mon C’mon, and Lachman won the Golden Frog in 2015, for Todd Haynes’ Carol.).
The Fipresci Prize was awarded to Jonathan Glazer’s The Zone of Interest, a chilling look at the life of Auschwitz concentration camp commander Rudolf Höss and his family,...
Cinematographer Ed Lachman received the Silver Frog for Pablo Larraín’s El Conde, which positions Chilean dictator Augusto Pinochet as a vampire. Robbie Ryan’s lensing of Yorgos Lanthimos’ Poor Things, the story of a young woman (Emma Stone) brought back to life by an unorthodox scientist, claimed the Bronze Frog as well as the Audience Award. (Ryan collected the Golden Frog two years ago, for Mike Mills’ C’mon C’mon, and Lachman won the Golden Frog in 2015, for Todd Haynes’ Carol.).
The Fipresci Prize was awarded to Jonathan Glazer’s The Zone of Interest, a chilling look at the life of Auschwitz concentration camp commander Rudolf Höss and his family,...
- 11/18/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
At five of the last 10 Oscars, Best Cinematography has gone hand-in-hand with Best Director: Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2024 Oscar predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity” first prevailed at the American Society of Cinematographers Awards,...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity” first prevailed at the American Society of Cinematographers Awards,...
- 9/12/2023
- by Paul Sheehan and Jacob Sarkisian
- Gold Derby
In Lars von Trier’s otherwise ridiculous film, Watson brings generous substance to a punishing role as a dangerously selfless wife
Lars von Trier’s deadpan-tragic fantasy of emotional pain from 1996 is now re-released as part of a retrospective dedicated to this director; it is magnificently acted, stylishly composed and entirely ridiculous from beginning to end. An operatically extravagant artsploitation ordeal that devastated saucer-eyed audiences at the Cannes film festival, Breaking the Waves won Von Trier the Grand Prix, though missed out on the Palme d’Or. It also launched him as a world-cinema superstar, though it is surely only the blazing passion of his lead Emily Watson that gives this film its substance; she varnishes it with her own luminous talent and commitment. It is perhaps to Watson that Von Trier owes his entire career.
Breaking the Waves is set in a quaintly imagined remote Scottish community in the...
Lars von Trier’s deadpan-tragic fantasy of emotional pain from 1996 is now re-released as part of a retrospective dedicated to this director; it is magnificently acted, stylishly composed and entirely ridiculous from beginning to end. An operatically extravagant artsploitation ordeal that devastated saucer-eyed audiences at the Cannes film festival, Breaking the Waves won Von Trier the Grand Prix, though missed out on the Palme d’Or. It also launched him as a world-cinema superstar, though it is surely only the blazing passion of his lead Emily Watson that gives this film its substance; she varnishes it with her own luminous talent and commitment. It is perhaps to Watson that Von Trier owes his entire career.
Breaking the Waves is set in a quaintly imagined remote Scottish community in the...
- 8/4/2023
- by Peter Bradshaw
- The Guardian - Film News
“Elvis” lenser Mandy Walker became the first woman to take top honors from the American Society of Cinematographers on Sunday. She edged out two of her Oscar rivals for Best Cinematography — Roger Deakins (“Empire of Light”) who reaped his 17th bid, and Darius Khondji (“Bardo”) — plus last year’s winner with both the guild and the Oscars Greig Fraser (“The Batman”) and Claudio Miranda (“Top Gun: Maverick”). The other Oscar nominees are James Friend (“All Quiet on the Western Front”) and Florian Hoffmeister (“Tar”).
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall,...
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall,...
- 3/6/2023
- by Paul Sheehan
- Gold Derby
At six of the last 10 Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2023 Oscars Best Cinematography predictions.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity...
- 2/6/2023
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on January 9 include only one of our five leading Oscar contenders for Best Cinematography: frontrunner Claudio Miranda for “Top Gun: Maverick.” The other four contenders are ASC stalwart Roger Deakins (“Empire of Light”) who reaped his 17th bid; last year’s winner with both the guild and the Oscars Greig Fraser (“The Batman”); Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”).
This quartet figures in our top 10 but we are predicting that joining Miranda in the Oscar line-up will be Russell Carpenter (“Avatar: The Way of Water”); James Friend (“All Quiet on the Western Front”); Janusz Kaminski (“The Fabelmens”); and Linus Sandgren (“Babylon”).
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017.
However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler,...
This quartet figures in our top 10 but we are predicting that joining Miranda in the Oscar line-up will be Russell Carpenter (“Avatar: The Way of Water”); James Friend (“All Quiet on the Western Front”); Janusz Kaminski (“The Fabelmens”); and Linus Sandgren (“Babylon”).
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017.
However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler,...
- 1/9/2023
- by Paul Sheehan
- Gold Derby
A major American filmmaker’s take on one of the most “unadaptable” novels this side of the second World War has, no surprise, inspired debate. But wherever one lands on White Noise tends to make room for praising Lol Crawley, a cinematographer who’d previously shaped films by Brady Corbet and Andrew Haigh, and modern television vis-à-vis The Oa and Black Mirror.
Not an expected choice for Baumbach, but White Noise‘s meeting of domestic dread and sci-fi terror balances the equation. Captured on anamorphic 35mm (with some VistaVision handled by the second unit) and showing 150 million of production design, its 2.39 images looked great at EnergaCAMERIMAGE, the sight of our interview—better than it might at home, a dilemma that comprised the core of our conversation.
The Film Stage: This is far from the first period piece that you’ve shot. But I noticed, looking over your filmography, almost every...
Not an expected choice for Baumbach, but White Noise‘s meeting of domestic dread and sci-fi terror balances the equation. Captured on anamorphic 35mm (with some VistaVision handled by the second unit) and showing 150 million of production design, its 2.39 images looked great at EnergaCAMERIMAGE, the sight of our interview—better than it might at home, a dilemma that comprised the core of our conversation.
The Film Stage: This is far from the first period piece that you’ve shot. But I noticed, looking over your filmography, almost every...
- 11/24/2022
- by Nick Newman
- The Film Stage
Academy Award and Golden Globe-nominated actress Adriana Barraza (“Blue Beetle”) has joined Jean Reno in the family film “The Penguin and the Fisherman,” TheWrap has exclusively learned.
“The Penguin and the Fisherman,” directed by David Schurmann, and co-written by Kristen Lazarain & Paulina Lagudi Ulrich and cinematography by Anthony Dod Mantle is based on the incredible true story of Joao Perei de Souza (Jean Reno), a Brazilian fisherman, who rescues a penguin (DinDim) covered in oil, near death and washed up on a remote island beach off of Brazil, far from his Patagonian home.
After DinDim returns to the wild, Joao is heartbroken — until a year later when DinDim returns. The story of their transcendent friendship and its impact on their little village is one for the ages.
Barraza joins Reno in the co-lead role playing Joao’s resolute wife Maria, who finds new love with her husband, through the spirit...
“The Penguin and the Fisherman,” directed by David Schurmann, and co-written by Kristen Lazarain & Paulina Lagudi Ulrich and cinematography by Anthony Dod Mantle is based on the incredible true story of Joao Perei de Souza (Jean Reno), a Brazilian fisherman, who rescues a penguin (DinDim) covered in oil, near death and washed up on a remote island beach off of Brazil, far from his Patagonian home.
After DinDim returns to the wild, Joao is heartbroken — until a year later when DinDim returns. The story of their transcendent friendship and its impact on their little village is one for the ages.
Barraza joins Reno in the co-lead role playing Joao’s resolute wife Maria, who finds new love with her husband, through the spirit...
- 10/14/2022
- by Umberto Gonzalez
- The Wrap
Some of the most exciting filmmaking in “Pistol,” FX’s new Danny Boyle-directed limited series, happens onstage. In concert scenes featuring the Sex Pistols — the real-life punk pathbreakers at the center of this story — the camera toggles between performer and spectator, moving so rapidly that it seems to eliminate the distance between the two. Director of photography Anthony Dod Mantle captures both staging in the foreground and expressive moshing in the background. The writhing performance seems less to spark violence in the audience than to run parallel to it, another expression of the free-floating anger in the air.
It’s a canny way of depicting the Pistols’ appeal: The show argues that the band had an intuitive ability to tap into the rage of youth culture in pre-Thatcherite England. It makes that argument eloquently by showing the group converting even small audiences, early on, into wild and emotional demonstrations.
It’s a canny way of depicting the Pistols’ appeal: The show argues that the band had an intuitive ability to tap into the rage of youth culture in pre-Thatcherite England. It makes that argument eloquently by showing the group converting even small audiences, early on, into wild and emotional demonstrations.
- 5/31/2022
- by Daniel D'Addario
- Variety Film + TV
The American Society of Cinematographers awarded Greig Fraser its top prize for his work on “Dune” at its annual awards on Sunday. He edged out three of his Oscar rivals for Best Cinematography: Bruno Delbonnel for “The Tragedy of Macbeth,” Dan Laustsen for “Nightmare Alley” and Ari Wegner for “The Power of the Dog.” The fifth ASC contender was Haris Zamberloukos for “Belfast” who bumped Oscar nominee Janusz Kamiński for “West Side Story.”
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
- 3/21/2022
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominations announced on January 25 include four of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Greig Fraser for “Dune” — as well as Bruno Delbonnel for “The Tragedy of Macbeth,” Ari Wegner for “The Power of the Dog” and Haris Zamberloukos for “Belfast.”
Our fifth predicted Oscar nominee, Janusz Kaminski for “West Side Story,” was snubbed in favor of our sixth-ranked contender, Dan Laustsen for “Nightmare Alley.”
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times in 35 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
Our fifth predicted Oscar nominee, Janusz Kaminski for “West Side Story,” was snubbed in favor of our sixth-ranked contender, Dan Laustsen for “Nightmare Alley.”
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times in 35 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
- 1/25/2022
- by Paul Sheehan
- Gold Derby
At six of the last nine Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2022 Oscars predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
- 1/23/2022
- by Paul Sheehan
- Gold Derby
Documentaries
Toronto Raptors vice-chair and president Masai Ujiri has joined the upcoming documentary series on the Basketball Africa League (Bal), a partnership between the National Basketball Association (NBA) and the International Basketball Federation (Fiba), as an executive producer.
Fremantle and Passenger are producing the as yet untitled series, which tells the story of the creation, launch and inaugural season of the Bal, a new professional basketball league in Africa featuring 12 club teams from across the African continent. The series is being directed by emerging South African director Tebogo Malope.
Ujiri was the architect behind the Raptors’ historic 2019 NBA Championship win and he also serves as president of Giants of Africa, the non-profit he co-founded in 2003, which uses basketball as a tool to educate and enrich the lives of African youth.
The first edition of Bal took place in May in Kigali, Rwanda. Working alongside showrunner and executive producer Richard Brown...
Toronto Raptors vice-chair and president Masai Ujiri has joined the upcoming documentary series on the Basketball Africa League (Bal), a partnership between the National Basketball Association (NBA) and the International Basketball Federation (Fiba), as an executive producer.
Fremantle and Passenger are producing the as yet untitled series, which tells the story of the creation, launch and inaugural season of the Bal, a new professional basketball league in Africa featuring 12 club teams from across the African continent. The series is being directed by emerging South African director Tebogo Malope.
Ujiri was the architect behind the Raptors’ historic 2019 NBA Championship win and he also serves as president of Giants of Africa, the non-profit he co-founded in 2003, which uses basketball as a tool to educate and enrich the lives of African youth.
The first edition of Bal took place in May in Kigali, Rwanda. Working alongside showrunner and executive producer Richard Brown...
- 10/28/2021
- by Naman Ramachandran
- Variety Film + TV
Samuel Goldwyn Films has acquired U.S. rights to “American Sausage Standoff” (“Gutterbee”), a comedy by Danish actor-turned-filmmaker Ulrich Thomsen who stars in “Banshee.” The movie is represented by REinvent International Sales.
Samuel Goldwyn Films plans to release the film as a day-and-date release on Aug. 7. Written and directed by Thomsen, “American Sausage Standoff” is set in a small American town and tells the story of two hopeless dreamers who join forces to launch the ultimate German sausage restaurant. The film is meant to be a thought-provoking social satire dealing with themes ranging from religion to racism and homophobia.
The key crew on “American Sausage Standoff” includes Anthony Dod Mantle, the Oscar-winning cinematographer of “Slumdog Millionaire” who also worked on Lars von Trier’s “Antichrist,” among other films.
“I’m so thrilled that my film will meet its American audience, and thrilled also to have done this film with my...
Samuel Goldwyn Films plans to release the film as a day-and-date release on Aug. 7. Written and directed by Thomsen, “American Sausage Standoff” is set in a small American town and tells the story of two hopeless dreamers who join forces to launch the ultimate German sausage restaurant. The film is meant to be a thought-provoking social satire dealing with themes ranging from religion to racism and homophobia.
The key crew on “American Sausage Standoff” includes Anthony Dod Mantle, the Oscar-winning cinematographer of “Slumdog Millionaire” who also worked on Lars von Trier’s “Antichrist,” among other films.
“I’m so thrilled that my film will meet its American audience, and thrilled also to have done this film with my...
- 6/21/2021
- by Elsa Keslassy
- Variety Film + TV
The American Society of Cinematographers were so impressed by the black-and-white lensing of “Mank” that it awarded Erik Messerschmidt the Best Cinematography prize at its annual awards on Sunday. He edged out three of his Oscar rivals — Phedon Papamichael for “The Trial of the Chicago 7,” Joshua James Richards for “Nomadland” and Dariusz Wolski for “News of the World — as well Newton Thomas Sigel for “Cherry. The fifth Oscar contender, Sean Bobbitt for “Judas and the Black Messiah,” was snubbed by the ASC.
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L.
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L.
- 4/18/2021
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on March 10 include four of the five leading Oscar contenders for Best Cinematography including Erik Messerschmidt for “Mank” as well as Phedon Papamichael for “The Trial of the Chicago 7,” Joshua James Richards for “Nomadland” and Dariusz Wolski for “News of the World. Also in contention is Newton Thomas Sigel for “Cherry. The fifth Oscar contender, Sean Bobbitt for “Judas and the Black Messiah” was snubbed by the guild.
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe,...
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe,...
- 4/16/2021
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on March 10 include three of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Erik Messerschmidt for “Mank” — as well as Joshua James Richards for “Nomadland” and Dariusz Wolski for “News of the World. Also in contention are Phedon Papamichael for “The Trial of the Chicago 7” and Newton Thomas Sigel for “Cherry. We are predicting Sigel will reap an Oscar bid for “Da 5 Bloods” instead.
Papamichael is a favorite of the ASC; he was nominated here last year for “Ford v Ferrari” but was bumped out at the Oscars by “The Lighthouse” lenser Jarin Blaschke. We don’t expect him to contend at the Academy Awards this year either with Hoyte van Hoytema likely to land the fifth slot for “Tenet.”
Over its 34-year history, the ASC has predicted 136 of the 170 Oscar nominees, including four in both...
Papamichael is a favorite of the ASC; he was nominated here last year for “Ford v Ferrari” but was bumped out at the Oscars by “The Lighthouse” lenser Jarin Blaschke. We don’t expect him to contend at the Academy Awards this year either with Hoyte van Hoytema likely to land the fifth slot for “Tenet.”
Over its 34-year history, the ASC has predicted 136 of the 170 Oscar nominees, including four in both...
- 3/10/2021
- by Paul Sheehan
- Gold Derby
At six of the last eight Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2021 Oscars predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
- 3/4/2021
- by Paul Sheehan
- Gold Derby
The Oscars are more international than ever. Of the 11 foreign-language films nominated for Best Picture in 90 years, more than half were nominated post-2000. The motion picture academy has expanded its membership by almost 20 percent, focusing squarely on filmmakers outside the US and people of color.
Last year for example, before the world turned upside down amid the ongoing coronavirus pandemic and social upheaval, we saw some of that progress come to fruition when underdog Korean masterpiece “Parasite” upended awards prognosticators’ expectations by steamrolling its way through various guild award wins before ultimately triumphing on Oscar night. It vindicated the motion picture academy’s efforts towards moving away from the 2016 #OscarsSoWhite controversy when all 20 of the Oscar acting nominees were exclusively white.
The academy continued its push for exclusivity in June by inviting 819 film professionals to join its ranks and changing eligibility rules to ensure films ticked a number of boxes around diversity and inclusivity.
Last year for example, before the world turned upside down amid the ongoing coronavirus pandemic and social upheaval, we saw some of that progress come to fruition when underdog Korean masterpiece “Parasite” upended awards prognosticators’ expectations by steamrolling its way through various guild award wins before ultimately triumphing on Oscar night. It vindicated the motion picture academy’s efforts towards moving away from the 2016 #OscarsSoWhite controversy when all 20 of the Oscar acting nominees were exclusively white.
The academy continued its push for exclusivity in June by inviting 819 film professionals to join its ranks and changing eligibility rules to ensure films ticked a number of boxes around diversity and inclusivity.
- 2/4/2021
- by Rob Licuria
- Gold Derby
Hugh Grant stars in the HBO limited series “The Undoing” alongside Nicole Kidman. His performance as Jonathan Fraser landed him a Critics’ Choice nomination for Best Limited Series/Movie Actor.
Grant spoke with Gold Derby editor Rob Licuria shortly after the finale of “The Undoing” about the final twists of the series, what it’s like working on TV and his memories of winning a Golden Globe for “Four Weddings and a Funeral.” Watch the spoiler-filled webchat above and read the complete transcript below.
SEESusanne Bier interview: ‘The Undoing’ showrunner/director
Gold Derby: We’ve just seen the finale and it was very satisfying and very, very tense and Hugh, I’d like to hear from you. First of all, what were your thoughts on how the series wrapped up?
Hugh Grant: Well, I haven’t seen what you’ve seen. I saw a cut maybe a few months ago and I thought,...
Grant spoke with Gold Derby editor Rob Licuria shortly after the finale of “The Undoing” about the final twists of the series, what it’s like working on TV and his memories of winning a Golden Globe for “Four Weddings and a Funeral.” Watch the spoiler-filled webchat above and read the complete transcript below.
SEESusanne Bier interview: ‘The Undoing’ showrunner/director
Gold Derby: We’ve just seen the finale and it was very satisfying and very, very tense and Hugh, I’d like to hear from you. First of all, what were your thoughts on how the series wrapped up?
Hugh Grant: Well, I haven’t seen what you’ve seen. I saw a cut maybe a few months ago and I thought,...
- 2/1/2021
- by Kevin Jacobsen
- Gold Derby
Filmmakers all use the same tools, more or less, but do so with endlessly varied methods, says cinematographer Roger Deakins. That idea drove the master cinematographer, who won Academy Awards for Denis Villeneuve’s “Bladerunner 2049” and Sam Mendes’ “1917,” to launch with his wife James Deakins the buzzy behind-the-scenes podcast Team Deakins, a streaming chat show that has now hosted more than 60 film artists of all stripes.
Since April the couple have done their trademark free-ranging interviews with remarkable cinematographers to be sure, including Rachel Morrison and Anthony Dod Mantle, but DPs have no monopoly as guests. Writer/directors Joel Coen and Jason Hall, producer Jon Kilik, key grip Gary Hymns, actors Josh Brolin, Tim Robbins and Joel Edgerton, composer Thomas Newman, post supervisor Dave Diliberto and casting director Fiona Weir have all shared their inspirations and insights on Team Deakins – and the podcast shows no signs of slowing down.
Since April the couple have done their trademark free-ranging interviews with remarkable cinematographers to be sure, including Rachel Morrison and Anthony Dod Mantle, but DPs have no monopoly as guests. Writer/directors Joel Coen and Jason Hall, producer Jon Kilik, key grip Gary Hymns, actors Josh Brolin, Tim Robbins and Joel Edgerton, composer Thomas Newman, post supervisor Dave Diliberto and casting director Fiona Weir have all shared their inspirations and insights on Team Deakins – and the podcast shows no signs of slowing down.
- 12/11/2020
- by Will Tizard
- Variety Film + TV
Filming the New York-set HBO thriller series “The Undoing” presented the challenge of getting inside the head of Nicole Kidman’s character, Grace, as her world flies apart and she doesn’t know what to believe, says Oscar-winning cinematographer Anthony Dod Mantle.
The British Dp, known for an artistic approach and a fascination for macro-level detail, used some of the same techniques he’s developed over the years, whether filming “Slumdog Millionaire” for Danny Boyle or “Antichrist” for Lars von Trier, he says.
“I use tools that for dramatic reasons help affect the focal plane and the rendition of the image depending on the psychology of the idea,” says Mantle, adding that he’s often fascinated with manipulating and diminishing areas of focus.
The setting for “The Undoing,” amid the dark, secretive world of New York’s super-rich, also presented opportunities to immerse viewers in murky intrigue, Mantle says.
“I...
The British Dp, known for an artistic approach and a fascination for macro-level detail, used some of the same techniques he’s developed over the years, whether filming “Slumdog Millionaire” for Danny Boyle or “Antichrist” for Lars von Trier, he says.
“I use tools that for dramatic reasons help affect the focal plane and the rendition of the image depending on the psychology of the idea,” says Mantle, adding that he’s often fascinated with manipulating and diminishing areas of focus.
The setting for “The Undoing,” amid the dark, secretive world of New York’s super-rich, also presented opportunities to immerse viewers in murky intrigue, Mantle says.
“I...
- 11/21/2020
- by Will Tizard
- Variety Film + TV
When Nicole Kidman, Reese Witherspoon, writer David E. Kelley, and friends all came together to make the first season of Big Little Lies, it was a television event, and one where the quality lived up to the star power in front of and behind the camera. Little of what anyone in the group has done since then — including the unnecessary second season — has lived up to that, though those various projects often can’t help but evoke Lies.
For Witherspoon, it was this spring’s Little Fires Everywhere, which failed...
For Witherspoon, it was this spring’s Little Fires Everywhere, which failed...
- 10/21/2020
- by Alan Sepinwall
- Rollingstone.com
Traditional biopics are slowly becoming a thing of the cinematic past. After all, as the film industry concentrates more and more on blockbusters, there’s less space to begin with for smaller, character based titles. Then, there’s the fact that some truly top notch biopics have found unusual ways to tell a life story. Now, the hopes for Radioactive, now out and available to watch on Amazon Prime Video, were certainly along those lines. However, despite some attempts to do so, it just ends up feeling like another flawed yet well-intentioned play to contend for awards. Rosamund Pike does her best, but she can only do so much here with a film that simply does not work. The movie is, obviously, a biopic, looking at the life of Marie Sklodowska-Curie (Pike), who would go on to become one of history’s most important scientists. Whether it’s meeting her...
- 7/27/2020
- by Joey Magidson
- Hollywoodnews.com
Director Marjane Satrapi’s “Radioactive” starts by trotting out an old biopic staple: a famous person approaching death and remembering life in a series of beautifully lit flashbacks. But by the time the film ends almost two hours later, Satrapi has pretty much abandoned the premise she started with, because the “memories” of Marie Curie have come to include flashbacks nestled inside other flashbacks, memories of events that Curie didn’t see and trips into a future that took place decades after her death.
In a way, demolishing your own premise as the movie goes on makes for a more adventurous and interesting trip than a typical biopic, but “Radioactive” is a curious beast from the director best known for her graphic novel “Persepolis,” and the Oscar-nominated film adaptation she directed with Vincent Paronnaud. Its boldest strokes also seem to be its most random ones, and its default mode is a certain melodrama and overstatement,...
In a way, demolishing your own premise as the movie goes on makes for a more adventurous and interesting trip than a typical biopic, but “Radioactive” is a curious beast from the director best known for her graphic novel “Persepolis,” and the Oscar-nominated film adaptation she directed with Vincent Paronnaud. Its boldest strokes also seem to be its most random ones, and its default mode is a certain melodrama and overstatement,...
- 7/23/2020
- by Steve Pond
- The Wrap
The American Society of Cinematographers nominees announced on January 3 include four of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Roger Deakins for “1917” — as well as Rodrigo Prieto for “The Irishman,” Robert Richardson for “Once Upon a Time in Hollywood” and Lawrence Sher for “Joker.” The fifth Asc nominee, instead of “The Lighthouse” cinematographer Jarin Blaschke, was Phedon Papamichael for the racing drama “Ford v Ferrari.”
But Blaschke wasn’t snubbed. He did receive a nomination in the Spotlight Award category, which honors films that screen at festivals, internationally, or in limited release. He’s joined there by just two other nominees: Natasha Braier (“Honey Boy”) and Jasper Wolf (“Monos”). Though it must be noted that “The Lighthouse” actually grossed more domestically than “Cold War,” the Polish film that won last year’s top prize and not a separate race for limited-release movies.
Over its 33-year history,...
But Blaschke wasn’t snubbed. He did receive a nomination in the Spotlight Award category, which honors films that screen at festivals, internationally, or in limited release. He’s joined there by just two other nominees: Natasha Braier (“Honey Boy”) and Jasper Wolf (“Monos”). Though it must be noted that “The Lighthouse” actually grossed more domestically than “Cold War,” the Polish film that won last year’s top prize and not a separate race for limited-release movies.
Over its 33-year history,...
- 1/3/2020
- by Daniel Montgomery
- Gold Derby
In 1895 Paris, Polish immigrant Maria Salomea Skłodowska (Rosamund Pike) was already headed toward a scientific breakthrough when she met fellow researcher Pierre Curie (Sam Riley). When the two physicists first collide, she’s a coiled mass of awkward tics. “Radioactive,” directed by Marjane Satrapi, is the saga of how this blunt, fast-walking workaholic proved the existence of three things: radium, polonium (which she named for her home country) and love. Under her married name, Marie Curie, she became the first woman to win the Nobel prize, and less than a decade later, the first anyone to win two.
Once Marie and Pierre’s meet-cute is checked-off and the triumphant couple has thumbed their noses at the establishment, Satrapi and screenwriter Jack Thorne (who penned the 19th-century meteorological adventure-romance “The Aeronauts”) are free to experiment with more daring narrative risks. After sparking audience interest with a closing-night slot at the Toronto Film Festival,...
Once Marie and Pierre’s meet-cute is checked-off and the triumphant couple has thumbed their noses at the establishment, Satrapi and screenwriter Jack Thorne (who penned the 19th-century meteorological adventure-romance “The Aeronauts”) are free to experiment with more daring narrative risks. After sparking audience interest with a closing-night slot at the Toronto Film Festival,...
- 9/7/2019
- by Amy Nicholson
- Variety Film + TV
In the summer of 2000, the Russian submarine named Kursk took on a naval exercise in the Barents Sea, the first of its kind since the fall of the Soviet Union a decade earlier. The Command (released under the title Kursk elsewhere), written by Robert Rodat and directed by Thomas Vinterberg, tells of the sub’s crew, the crew’s families and the government that failed them. Without fully spoiling this real-life event, things do not go well from those onboard the vessel.
As sub commander Mikhail (Matthias Schoenaerts) and his shipmates celebrate at their fellow soldier Pavel’s (Matthias Schweighöfer) wedding reception, the writing’s on the wall. Post-ussr Russia is floundering, wages are shrinking, and the military is energized only by principle. Speeches about duty and sacrifice underline what’s about to happen. Despite the relative modernity of this story (adapted from Robert Moore’s book A Time to Die...
As sub commander Mikhail (Matthias Schoenaerts) and his shipmates celebrate at their fellow soldier Pavel’s (Matthias Schweighöfer) wedding reception, the writing’s on the wall. Post-ussr Russia is floundering, wages are shrinking, and the military is energized only by principle. Speeches about duty and sacrifice underline what’s about to happen. Despite the relative modernity of this story (adapted from Robert Moore’s book A Time to Die...
- 6/17/2019
- by Dan Mecca
- The Film Stage
Decision to present senior Oscars during commercials derided in open letter.
More than 90 distinguished filmmakers including Oscar nominee Spike Lee, Martin Scorsese, Damien Chazelle, Rachel Morrison and Emmanuel Lubezki have blasted the Academy’s plan to present four Oscars including two from senior categories during commercial breaks at the upcoming show.
“Relegating these essential cinematic crafts to lesser status in this 91st Academy Awards ceremony is nothing less than an insult to those of us who have devoted our lives and passions to our chosen profession,” the directors, cinematographers and editors – many of whom have won the Academy Award or...
More than 90 distinguished filmmakers including Oscar nominee Spike Lee, Martin Scorsese, Damien Chazelle, Rachel Morrison and Emmanuel Lubezki have blasted the Academy’s plan to present four Oscars including two from senior categories during commercial breaks at the upcoming show.
“Relegating these essential cinematic crafts to lesser status in this 91st Academy Awards ceremony is nothing less than an insult to those of us who have devoted our lives and passions to our chosen profession,” the directors, cinematographers and editors – many of whom have won the Academy Award or...
- 2/14/2019
- by Jeremy Kay
- ScreenDaily
The American Society of Cinematographers nominees announced Tuesday (Jan. 9) include four of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Alfonso Cuaron for “Roma” — as well as Matthew Libatique for “A Star Is Born,” Robbie Ryan for “The Favourite” and Linus Sandgren for “First Man.” The fifth Asc nominee, who bumped out “If Beale Street Could Talk” cinematographer James Laxton, is Lukasz Zal for the black-and-white “Cold War,” Poland’s entry in the Foreign Language Film race.
Over its 32-year history, the Asc has predicted 128 of the 160 Oscar nominees, including all of last year’s and those in 2017. However, the Asc choice for the best in the business has presaged the eventual winner at the Oscars only 14 times in 32 years.
Predict Oscar nominations now; change them till January 22
Indeed, Roger Deakins won three times with the guild but lost with the Oscars. Fourth time proved...
Over its 32-year history, the Asc has predicted 128 of the 160 Oscar nominees, including all of last year’s and those in 2017. However, the Asc choice for the best in the business has presaged the eventual winner at the Oscars only 14 times in 32 years.
Predict Oscar nominations now; change them till January 22
Indeed, Roger Deakins won three times with the guild but lost with the Oscars. Fourth time proved...
- 1/7/2019
- by Paul Sheehan
- Gold Derby
Radioactive
Marjane Satrapi continues to work in the English language with fifth feature, Radioactive, a UK production financed through Tim Bevan and Eric Fellner of Working Title and co-produced through Paul Webster of Shoebox Films. A biopic of scientist Marie Curie, played by Rosamund Pike, Satrapi’s Amazon Studios/Studiocanal film also features Sam Riley as Pierre Curie, Anya Taylor-Joy, Aneurin Barnard and Simon Russell Beale. Oscar winner Anthony Dod Mantle (2008’s Slumdog Millionaire) serves as cinematographer. Satrapi won the Jury Prize in Cannes for her 2007 debut Persepolis, which also won Cesars for Best Adapted Screenplay and Best First Film.…...
Marjane Satrapi continues to work in the English language with fifth feature, Radioactive, a UK production financed through Tim Bevan and Eric Fellner of Working Title and co-produced through Paul Webster of Shoebox Films. A biopic of scientist Marie Curie, played by Rosamund Pike, Satrapi’s Amazon Studios/Studiocanal film also features Sam Riley as Pierre Curie, Anya Taylor-Joy, Aneurin Barnard and Simon Russell Beale. Oscar winner Anthony Dod Mantle (2008’s Slumdog Millionaire) serves as cinematographer. Satrapi won the Jury Prize in Cannes for her 2007 debut Persepolis, which also won Cesars for Best Adapted Screenplay and Best First Film.…...
- 1/2/2019
- by Nicholas Bell
- IONCINEMA.com
For many of us of an impressionable age and frame of mind in the year 2000, the Kursk submarine disaster occupies a uniquely chilling part of the imagination. Even far removed and only getting updates via news reports, the real-time experience of the excruciating 7-day delay between the explosions that sent the Russian nuclear submarine to the bottom of the Barents Sea and the rescue mission divers finally opening its hatch, caught international attention in the same way imperiled space missions used to, or, a decade later, a Chilean mine collapse would.
This is both a blessing and a burden for Thomas Vinterberg’s expensive, glossy recreation of the disaster and its immediate aftermath, “Kursk.” On the one hand, it’s a story everyone knows, and on the other hand, it’s a story everyone knows. How to make it feel new and exciting while being respectful of the real lives...
This is both a blessing and a burden for Thomas Vinterberg’s expensive, glossy recreation of the disaster and its immediate aftermath, “Kursk.” On the one hand, it’s a story everyone knows, and on the other hand, it’s a story everyone knows. How to make it feel new and exciting while being respectful of the real lives...
- 9/13/2018
- by Jessica Kiang
- Variety Film + TV
After breaking through with his Dogme 95 films, Thomas Vinterberg has blossomed into quite the dexterous filmmaker, from harrowing drama like The Hunt to heart-tugging period dramas like Far From the Madding Crowd. For his next feature he’s entering the submarine thriller subgenre with Kursk. Ahead of a Tiff world premiere, the first international trailer has now arrived.
Based on the 2000 disaster, Matthias Schoenaerts, Colin Firth, Léa Seydoux, Peter Simonischek, Max von Sydow, Matthias Schweighöfer and the late Michael Nyqvist lead the film, which captures the true story that led to the death of 118 Russian sailors. Featuring cinematography from Anthony Dod Mantle and a score by Alexandre Desplat, see the first trailer below and return for our review soon.
Kursk premieres at Tiff.
Based on the 2000 disaster, Matthias Schoenaerts, Colin Firth, Léa Seydoux, Peter Simonischek, Max von Sydow, Matthias Schweighöfer and the late Michael Nyqvist lead the film, which captures the true story that led to the death of 118 Russian sailors. Featuring cinematography from Anthony Dod Mantle and a score by Alexandre Desplat, see the first trailer below and return for our review soon.
Kursk premieres at Tiff.
- 9/6/2018
- by Jordan Raup
- The Film Stage
Track my film passions of the past year and the result is this list. These are the films that wowed and moved me, that turned me into a rabid champion, that gave me hope that brilliant cinematic storytelling — and a rebel spirit — is alive and well. It turned out to be a strong year for women directors (five), romances (three), World War II dramas (two), Angelina Jolie movies (two), animation (one), and documentaries (one).
See More:The Best Movies of 2017, According to IndieWire Critic Eric Kohn 12. “The Breadwinner” (GKids)
Directed by Nora Twomey of Cartoon Saloon (“The Secret of Kells”) and executive produced by Angelina Jolie, Irish-Canadian “The Breadwinner” is based on Deborah Ellis’s Ya novel about 11-year-old Parvana (voiced by Canadian actress Saara Chaudry), a strong-willed Afghan girl who disguises herself as a boy in order to provide for her family and save her father under threat from the Taliban.
See More:The Best Movies of 2017, According to IndieWire Critic Eric Kohn 12. “The Breadwinner” (GKids)
Directed by Nora Twomey of Cartoon Saloon (“The Secret of Kells”) and executive produced by Angelina Jolie, Irish-Canadian “The Breadwinner” is based on Deborah Ellis’s Ya novel about 11-year-old Parvana (voiced by Canadian actress Saara Chaudry), a strong-willed Afghan girl who disguises herself as a boy in order to provide for her family and save her father under threat from the Taliban.
- 12/1/2017
- by Anne Thompson
- Indiewire
When Angelina Jolie needed a new cinematographer on the eve of shooting “First They Killed My Father” (Netflix), Cambodia’s Best Foreign-Language Oscar entry, the director called on the Dp she wanted in the first place: Oscar-winner Anthony Dod Mantle (“Slumdog Millionaire”). It turned out to be a trial by fire of the most creative kind.
Based on the celebrated memoir by Loung Ung, who, with her family, was forced into a work camp by the Khmer Rouge at the age of five, the historical thriller was shot totally from her perspective.
“I only had three days of prep and the first background action had a crowd between 400 and 600 extras,” said Dod Mantle, who’s presenting the film this week in competition at the 25th Camerimage festival in Bydgoszcz, Poland.
Capturing Her Pov
Shooting with the Sony F55 with lots of hand-held and Steadicam shots, Dod Mantle first learned to...
Based on the celebrated memoir by Loung Ung, who, with her family, was forced into a work camp by the Khmer Rouge at the age of five, the historical thriller was shot totally from her perspective.
“I only had three days of prep and the first background action had a crowd between 400 and 600 extras,” said Dod Mantle, who’s presenting the film this week in competition at the 25th Camerimage festival in Bydgoszcz, Poland.
Capturing Her Pov
Shooting with the Sony F55 with lots of hand-held and Steadicam shots, Dod Mantle first learned to...
- 11/13/2017
- by Bill Desowitz
- Indiewire
Director Angelina Jolie wanted audiences watching First They Killed My Father, based on Loung Ung's memoir set during the Cambodian genocide, to see through the eyes of a child — young actress Sareum Srey Moch, who gives a remarkably expressive performance as Loung.
In the words of its Oscar-winning cinematographer Anthony Dod Mantle (Slumdog Millionaire), the Netflix film, Cambodia's foreign-language Academy Award entry, is "an attempt, as full-on as possible, to project how a child will perceive these incidents around her, which were everything from beauty and happiness in the beginning to unadulterated chaos and darkness. That's the psychology behind...
In the words of its Oscar-winning cinematographer Anthony Dod Mantle (Slumdog Millionaire), the Netflix film, Cambodia's foreign-language Academy Award entry, is "an attempt, as full-on as possible, to project how a child will perceive these incidents around her, which were everything from beauty and happiness in the beginning to unadulterated chaos and darkness. That's the psychology behind...
- 11/9/2017
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Angelina Jolie is basking in a standing ovation at Telluride after the first screening of “First They Killed My Father.” It’s the film she wanted to make: Based on the 2000 memoir of Loung Ung, who was five when the Khmer Rouge forced her family into work camps, it required a $24 million budget, a 60-day shoot, a two-hour, 16-minute cut. The only place she pitched the film is the only one who would let her make it: Netflix.
“She had a very specific view of the story she wanted to tell,” said Netflix chief content officer Ted Sarandos. “It’s very traditional. It’s just as resource-intense to make a small film as a big film, where there isn’t much infrastructure in Cambodia. It would have been difficult to get made anywhere, with all local talent. It all pays off on the screen.”
While Jolie’s film may be traditional in some ways,...
“She had a very specific view of the story she wanted to tell,” said Netflix chief content officer Ted Sarandos. “It’s very traditional. It’s just as resource-intense to make a small film as a big film, where there isn’t much infrastructure in Cambodia. It would have been difficult to get made anywhere, with all local talent. It all pays off on the screen.”
While Jolie’s film may be traditional in some ways,...
- 9/18/2017
- by Anne Thompson
- Thompson on Hollywood
Angelina Jolie is basking in a standing ovation at Telluride after the first screening of “First They Killed My Father.” It’s the film she wanted to make: Based on the 2000 memoir of Loung Ung, who was five when the Khmer Rouge forced her family into work camps, it required a $24 million budget, a 60-day shoot, a two-hour, 16-minute cut. The only place she pitched the film is the only one who would let her make it: Netflix.
“She had a very specific view of the story she wanted to tell,” said Netflix chief content officer Ted Sarandos. “It’s very traditional. It’s just as resource-intense to make a small film as a big film, where there isn’t much infrastructure in Cambodia. It would have been difficult to get made anywhere, with all local talent. It all pays off on the screen.”
While Jolie’s film may be traditional in some ways,...
“She had a very specific view of the story she wanted to tell,” said Netflix chief content officer Ted Sarandos. “It’s very traditional. It’s just as resource-intense to make a small film as a big film, where there isn’t much infrastructure in Cambodia. It would have been difficult to get made anywhere, with all local talent. It all pays off on the screen.”
While Jolie’s film may be traditional in some ways,...
- 9/18/2017
- by Anne Thompson
- Indiewire
Will wonders never cease. A film about Cambodia told from a Cambodian perspective instead of through the heroic intervention of white outsiders. Yes, that's Angelina Jolie behind the camera, as director and co-writer, but First They Killed My Father, subtitled "A Daughter of Cambodia Remembers," steadfastly honors its first-person account. The film takes the point of view of Loung Ung (newcomer Sreymoch Sareum), who was only five years old when the Communist Khmer Rouge entered the Cambodian capital of Phnom Penh in 1975, brutally executing fellow Cambodians with ties to the...
- 9/15/2017
- Rollingstone.com
The Telluride Film Festival is about a lot more than Oscars. Co-directors Tom Luddy and Julie Huntsinger certainly set out to program the year’s likeliest Oscar contenders, including Joe Wright’s Gary Oldman vehicle “Darkest Hour,” Greta Gerwig’s “Lady Bird,” starring Saoirse Ronan, Guillermo del Toro’s “The Shape of Water,” starring Sally Hawkins, and “Battle of the Sexes,” starring a luminous Emma Stone as real-life hero Billie Jean King.
But Telluride was also a crucible for conversations about the state of the motion picture industry throughout the weekend, as Netflix and Amazon threw parties and checked out several high-profile movies without distribution — including Francis Ford Coppola’s musically-enhanced “The Cotton Club Encore” — that banked on the festival boosting their critical and audience cred before top buyers.
Here’s what we learned over the Labor Day weekend:
1. Christian Bale is fat.
The subject of two well-deserved weekend tributes...
But Telluride was also a crucible for conversations about the state of the motion picture industry throughout the weekend, as Netflix and Amazon threw parties and checked out several high-profile movies without distribution — including Francis Ford Coppola’s musically-enhanced “The Cotton Club Encore” — that banked on the festival boosting their critical and audience cred before top buyers.
Here’s what we learned over the Labor Day weekend:
1. Christian Bale is fat.
The subject of two well-deserved weekend tributes...
- 9/4/2017
- by Anne Thompson
- Thompson on Hollywood
The Telluride Film Festival is about a lot more than Oscars. Co-directors Tom Luddy and Julie Huntsinger certainly set out to program the year’s likeliest Oscar contenders, including Joe Wright’s Gary Oldman vehicle “Darkest Hour,” Greta Gerwig’s “Lady Bird,” starring Saoirse Ronan, Guillermo del Toro’s “The Shape of Water,” starring Sally Hawkins, and “Battle of the Sexes,” starring a luminous Emma Stone as real-life hero Billie Jean King.
But Telluride was also a crucible for conversations about the state of the motion picture industry throughout the weekend, as Netflix and Amazon threw parties and checked out several high-profile movies without distribution — including Francis Ford Coppola’s musically-enhanced “The Cotton Club Encore” — that banked on the festival boosting their critical and audience cred before top buyers.
Here’s what we learned over the Labor Day weekend:
1. Christian Bale is fat.
The subject of two well-deserved weekend tributes...
But Telluride was also a crucible for conversations about the state of the motion picture industry throughout the weekend, as Netflix and Amazon threw parties and checked out several high-profile movies without distribution — including Francis Ford Coppola’s musically-enhanced “The Cotton Club Encore” — that banked on the festival boosting their critical and audience cred before top buyers.
Here’s what we learned over the Labor Day weekend:
1. Christian Bale is fat.
The subject of two well-deserved weekend tributes...
- 9/4/2017
- by Anne Thompson
- Indiewire
“First They Killed My Father: A Daughter of Cambodia Remembers” is the movie that Angelina Jolie has been working toward for the duration of her short filmmaking career. With each directing effort, Jolie has dismantled any semblance of the glossy stardom that burdens her reputation. Her slick 2011 debut “In the Land of Blood and Honey” was a grim tale of star-crossed lovers set against the Bosnian war, while 2014’s survival saga “Unbroken” had the scope and visceral intensity of a WWII epic. “By the Sea” was an uneven expressionistic romance in which she co-starred alongside then-husband Brad Pitt, but it hardly glamorized the couple’s insular world.
Now comes a more focused, involving work than any of her earlier efforts, a taut wartime tale about surviving the Khmer Rouge that’s rooted in a child’s perspective rather than a simplistic, westernized gaze. Despite a few missteps, it’s the...
Now comes a more focused, involving work than any of her earlier efforts, a taut wartime tale about surviving the Khmer Rouge that’s rooted in a child’s perspective rather than a simplistic, westernized gaze. Despite a few missteps, it’s the...
- 9/2/2017
- by Eric Kohn
- Indiewire
The year in cinema is about to get a whole lot busier. With the summer behind us, the big fall festivals are about to unleash a grab-bag of new movies that will launch awards season along with a range of conversations about filmmakers, actors and the future of the film industry.
Here’s what we’re expecting to learn in the next few days and weeks.
Read More:Telluride Reveals 2017 Lineup: ‘The Shape of Water,’ ‘Downsizing,’ Christian Bale Tribute, and Angelina Jolie 1. Gary Oldman will become an Oscar contender.
Respected for decades for such colorful turns as “Sid & Nancy” and “Dracula,” Gary Oldman finally landed an Oscar nomination for “Tinker Tailer Soldier Spy,” and may get another shot to win the prize. So why the buzz on the British actor as Winston Churchill, a story we think we have seen before? Joe Wright’s “Darkest Hour” does not give us the...
Here’s what we’re expecting to learn in the next few days and weeks.
Read More:Telluride Reveals 2017 Lineup: ‘The Shape of Water,’ ‘Downsizing,’ Christian Bale Tribute, and Angelina Jolie 1. Gary Oldman will become an Oscar contender.
Respected for decades for such colorful turns as “Sid & Nancy” and “Dracula,” Gary Oldman finally landed an Oscar nomination for “Tinker Tailer Soldier Spy,” and may get another shot to win the prize. So why the buzz on the British actor as Winston Churchill, a story we think we have seen before? Joe Wright’s “Darkest Hour” does not give us the...
- 8/31/2017
- by Eric Kohn and Anne Thompson
- Indiewire
The year in cinema is about to get a whole lot busier. With the summer behind us, the big fall festivals are about to unleash a grab-bag of new movies that will launch awards season along with a range of conversations about filmmakers, actors and the future of the film industry.
Here’s what we’re expecting to learn in the next few days and weeks.
Read More:Telluride Reveals 2017 Lineup: ‘The Shape of Water,’ ‘Downsizing,’ Christian Bale Tribute, and Angelina Jolie 1. Gary Oldman will become an Oscar contender.
Respected for decades for such colorful turns as “Sid & Nancy” and “Dracula,” Gary Oldman finally landed an Oscar nomination for “Tinker Tailer Soldier Spy,” and may get another shot to win the prize. So why the buzz on the British actor as Winston Churchill, a story we think we have seen before? Joe Wright’s “Darkest Hour” does not give us the...
Here’s what we’re expecting to learn in the next few days and weeks.
Read More:Telluride Reveals 2017 Lineup: ‘The Shape of Water,’ ‘Downsizing,’ Christian Bale Tribute, and Angelina Jolie 1. Gary Oldman will become an Oscar contender.
Respected for decades for such colorful turns as “Sid & Nancy” and “Dracula,” Gary Oldman finally landed an Oscar nomination for “Tinker Tailer Soldier Spy,” and may get another shot to win the prize. So why the buzz on the British actor as Winston Churchill, a story we think we have seen before? Joe Wright’s “Darkest Hour” does not give us the...
- 8/31/2017
- by Eric Kohn and Anne Thompson
- Thompson on Hollywood
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