Atom Egoyan has revealed that he was so traumatized by the negative reception to his Ryan Reynolds-starring thriller The Captive at the Cannes Film Festival that he will never return again with a film.
The pedophilia thriller, starring Reynolds as a man dealing with the disappearance of his nine-year-old daughter, was widely panned by the Cannes critics corps when it world premiered in competition in 2014.
“It was actually the worst reviewed film that I ever did. We should never have taken it to Cannes,” the Canadian-Armenian director told a masterclass at the Doha Film Institute’s Qumra meeting in Qatar on Wednesday.
“It got this really crazy reception. It was in competition on the Friday night. I haven’t been to Cannes since because I just don’t ever want to come back to what we had that night. The last couple of films, we showed in Venice or Berlin.
The pedophilia thriller, starring Reynolds as a man dealing with the disappearance of his nine-year-old daughter, was widely panned by the Cannes critics corps when it world premiered in competition in 2014.
“It was actually the worst reviewed film that I ever did. We should never have taken it to Cannes,” the Canadian-Armenian director told a masterclass at the Doha Film Institute’s Qumra meeting in Qatar on Wednesday.
“It got this really crazy reception. It was in competition on the Friday night. I haven’t been to Cannes since because I just don’t ever want to come back to what we had that night. The last couple of films, we showed in Venice or Berlin.
- 3/6/2024
- by Melanie Goodfellow
- Deadline Film + TV
Maple Syrup Massacre is an editorial series where Joe Lipsett dissects the themes, conventions and contributions of new and classic Canadian horror films. Spoilers follow…
It would be disingenuous to suggest that Atom Egoyan’s The Adjuster is a horror film.
Psychological thriller is more apt descriptor, though audiences seeking scary set pieces will walk away unsatisfied. Despite this, The Adjuster has a narrative of thriller tropes, including a large number of psychosexual relationships, characters adopting dual roles (or simply role playing) and an ending that encourages audiences to re-evaluate what they have seen.
Egoyan is one of Canada’s most significant contemporary directors, though internationally his work is known principally in art cinema and film festival circles. In the 90s, Egoyan was a symbol of national pride; he, along with David Cronenberg, was essentially the face of English-language Canadian film. His most famous film is the Sarah Polley-starring The Sweet Hereafter,...
It would be disingenuous to suggest that Atom Egoyan’s The Adjuster is a horror film.
Psychological thriller is more apt descriptor, though audiences seeking scary set pieces will walk away unsatisfied. Despite this, The Adjuster has a narrative of thriller tropes, including a large number of psychosexual relationships, characters adopting dual roles (or simply role playing) and an ending that encourages audiences to re-evaluate what they have seen.
Egoyan is one of Canada’s most significant contemporary directors, though internationally his work is known principally in art cinema and film festival circles. In the 90s, Egoyan was a symbol of national pride; he, along with David Cronenberg, was essentially the face of English-language Canadian film. His most famous film is the Sarah Polley-starring The Sweet Hereafter,...
- 1/30/2024
- by Joe Lipsett
- bloody-disgusting.com
Canadian auteur Atom Egoyan’s 40-year relationship with the Toronto International Film Festival helped put his movies on the map in Hollywood.
But that impressive trajectory out of Toronto of iconic Egoyan dramas like Next of Kin, Family Viewing, The Adjuster, Exotica, The Sweet Hereafter and Guest of Honor — often psychodramas about families shattered by death, loss and betrayal, as parents and children grow apart — got off to an inauspicious start in 1982 with an early short film that screened from a sidewalk outside the Uptown Theatre on Yonge Street.
“It was the ultimate act of chutzpah,” Egoyan recalls of joining fellow rag-tag filmmaker Bruce McDonald, both of whom had shorts rejected by Toronto fest programmers that year, when a feature by a close friend did get an invite.
Feeling a prized Toronto fest berth just beyond their fingertips, years before becoming inescapable fixtures on the TIFF red carpet, Egoyan and...
But that impressive trajectory out of Toronto of iconic Egoyan dramas like Next of Kin, Family Viewing, The Adjuster, Exotica, The Sweet Hereafter and Guest of Honor — often psychodramas about families shattered by death, loss and betrayal, as parents and children grow apart — got off to an inauspicious start in 1982 with an early short film that screened from a sidewalk outside the Uptown Theatre on Yonge Street.
“It was the ultimate act of chutzpah,” Egoyan recalls of joining fellow rag-tag filmmaker Bruce McDonald, both of whom had shorts rejected by Toronto fest programmers that year, when a feature by a close friend did get an invite.
Feeling a prized Toronto fest berth just beyond their fingertips, years before becoming inescapable fixtures on the TIFF red carpet, Egoyan and...
- 9/9/2023
- by Etan Vlessing
- The Hollywood Reporter - Movie News
The route that took Oscar-winning “Life of Pi” composer Mychael Danna from the basement of a Toronto church to an office on Hollywood and Vine and all the way to the stage of Zurich Film Festival, where he will receive a career achievement tribute on Sept. 30, kicked off – as such things often do – with an offhand comment.
It was the mid-1980s and Danna was a student of electronic music at the University of Toronto, paying his way through college by playing organ in local churches and by composing ambient pieces for the nearby planetarium. He’d also score plays on campus, mostly for kicks. Sitting in the sound booth one afternoon, and idly chatting with the neighboring lighting technician, Danna stumbled onto a new path. “My friend told me about another guy from campus who wanted to make a film and was looking for a composer,” Danna says. “That is literally how it happened.
It was the mid-1980s and Danna was a student of electronic music at the University of Toronto, paying his way through college by playing organ in local churches and by composing ambient pieces for the nearby planetarium. He’d also score plays on campus, mostly for kicks. Sitting in the sound booth one afternoon, and idly chatting with the neighboring lighting technician, Danna stumbled onto a new path. “My friend told me about another guy from campus who wanted to make a film and was looking for a composer,” Danna says. “That is literally how it happened.
- 9/27/2021
- by Ben Croll
- Variety Film + TV
International sales, distribution and production company Axxon Media have closed a pair of deals with WarnerMedia for Latin America and the Caribbean, one for a finished feature and the other a project, both announced at this year’s Cannes Marché du Film.
WarnerMedia has picked up Mireia Gabilando’s Spanish comedy “The Hive” and will bring the film to its HBO Max Latam channel in 39 territories in Latin America and the Caribbean. In “The Hive,” long buried secrets are unearthed and plague a group of childhood friends who reunite in a country house to celebrate a bachelorette party. Acrónica and Tentazioa produced the feature.
Gabilondo’s sophomore effort, the film, adapted from Kepa Arresti’s play “Enjambre,” tracks the events of an evening which transforms from a carefree get-together into an anxious evening of accusations and airing of dirty laundry.
Miguel García De La Calera’s “The Caribbean ‘All Inclusive...
WarnerMedia has picked up Mireia Gabilando’s Spanish comedy “The Hive” and will bring the film to its HBO Max Latam channel in 39 territories in Latin America and the Caribbean. In “The Hive,” long buried secrets are unearthed and plague a group of childhood friends who reunite in a country house to celebrate a bachelorette party. Acrónica and Tentazioa produced the feature.
Gabilondo’s sophomore effort, the film, adapted from Kepa Arresti’s play “Enjambre,” tracks the events of an evening which transforms from a carefree get-together into an anxious evening of accusations and airing of dirty laundry.
Miguel García De La Calera’s “The Caribbean ‘All Inclusive...
- 7/11/2021
- by Jamie Lang
- Variety Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
The Dark and the Wicked (Bryan Bertino)
How then does a life-long atheist like Louise (Marin Ireland) and Michael’s (Michael Abbott Jr.) mother (Julie Oliver-Touchstone) become a believer in God? She hears the voice of the Devil. She witnesses evil incarnate and accepts her inability to combat its seemingly inevitable goal. And if she cannot stop it from terrifying her with whispers about how it is going to take the soul of her dying husband (Michael Zagst) to Hell, what besides God can? Only when they can no longer act on their own behalf do the faithless turn to Him for help. Maybe she prays. Maybe she collects...
The Dark and the Wicked (Bryan Bertino)
How then does a life-long atheist like Louise (Marin Ireland) and Michael’s (Michael Abbott Jr.) mother (Julie Oliver-Touchstone) become a believer in God? She hears the voice of the Devil. She witnesses evil incarnate and accepts her inability to combat its seemingly inevitable goal. And if she cannot stop it from terrifying her with whispers about how it is going to take the soul of her dying husband (Michael Zagst) to Hell, what besides God can? Only when they can no longer act on their own behalf do the faithless turn to Him for help. Maybe she prays. Maybe she collects...
- 11/6/2020
- by Jordan Raup
- The Film Stage
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Black Is King (Beyoncé)
Four years ago, Beyoncé dropped the film version of Lemonade, which brought together directors Kahlil Joseph, Jonas Åkerlund, Mark Romanek, Melina Matsoukas, and more to deliver a visual album that, like many of her works, had an immense cultural impact. She is now returning with Black Is King, a film in production for an entire year that reimagines the tale of The Lion King through the perspective of the Black experience. Now available on Disney+, we imagine it’ll be the most-watched film of the weekend.
Where to Stream: Disney+
Bull (Annie Silverstein)
There’s not much to do around Kristyl’s (Amber Havard) hard...
Black Is King (Beyoncé)
Four years ago, Beyoncé dropped the film version of Lemonade, which brought together directors Kahlil Joseph, Jonas Åkerlund, Mark Romanek, Melina Matsoukas, and more to deliver a visual album that, like many of her works, had an immense cultural impact. She is now returning with Black Is King, a film in production for an entire year that reimagines the tale of The Lion King through the perspective of the Black experience. Now available on Disney+, we imagine it’ll be the most-watched film of the weekend.
Where to Stream: Disney+
Bull (Annie Silverstein)
There’s not much to do around Kristyl’s (Amber Havard) hard...
- 7/31/2020
- by Jordan Raup
- The Film Stage
Throughout his sixteen feature films, prolific Toronto-based, Egyptian-born filmmaker Atom Egoyan has explored obsession, modern technology, fragmented families, the unreliability of memory, and multicultural tensions embodied within Canada. His latest film, Guest of Honour, recalls his earlier films––including Family Viewing, Speaking Parts, The Adjuster, and Exotica––in a story featuring David Thewlis as a food inspector and Laysla De Oliveria as his adult child, wrongfully convicted of a crime she did not commit but agrees to serve the time for, in order to atone for other sins.
An intimate thriller told through the unreliable memories of its protagonist’s daughter, Guest of Honour is now available via Kino Marquee, supporting Virtual Cinemas. We spoke to Egoyan about the inspirations behind hiis latest film, launching at Venice and TIFF last year, and its place in his career spanning three and a half decades since his first feature, 1984’s Next of Kin.
An intimate thriller told through the unreliable memories of its protagonist’s daughter, Guest of Honour is now available via Kino Marquee, supporting Virtual Cinemas. We spoke to Egoyan about the inspirations behind hiis latest film, launching at Venice and TIFF last year, and its place in his career spanning three and a half decades since his first feature, 1984’s Next of Kin.
- 7/16/2020
- by John Fink
- The Film Stage
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
The Beach House (Jeffrey A. Brown)
There’s a lot to like about Jeffrey A. Brown’s feature directorial debut The Beach House, from its gorgeous production design to its ruminations on mankind’s fragility when compared with Mother Nature’s hardier offerings (despite our penchant for believing we hold dominion over Her). It’s therefore easy to appreciate the reason Emily (Liana Liberato), Randall (Noah Le Gros), Mitch (Jake Weber), and Jane (Maryanne Nagel) have arrived at a site that may end up being their tomb because we’re quick to ignore the baked-in irony too. This was supposed to be an escape from life’s struggles—a...
The Beach House (Jeffrey A. Brown)
There’s a lot to like about Jeffrey A. Brown’s feature directorial debut The Beach House, from its gorgeous production design to its ruminations on mankind’s fragility when compared with Mother Nature’s hardier offerings (despite our penchant for believing we hold dominion over Her). It’s therefore easy to appreciate the reason Emily (Liana Liberato), Randall (Noah Le Gros), Mitch (Jake Weber), and Jane (Maryanne Nagel) have arrived at a site that may end up being their tomb because we’re quick to ignore the baked-in irony too. This was supposed to be an escape from life’s struggles—a...
- 7/10/2020
- by Jordan Raup
- The Film Stage
Guest Of Honour director and rabbit competition winner Atom Egoyan with Anne-Katrin Titze’s Steiff Dürer Bunny at the Seven Grams Caffe in New York Photo: Anne-Katrin Titze
At the Canada Now Opening Night U.S. premiere on February 13, of Atom Egoyan’s Guest Of Honour, starring David Thewlis and Laysla De Oliveira with Luke Wilson and Arsinée Khanjian, 99 Records founder Ed Bahlman asked Atom about his work with longtime composer Mychael Danna and Shannon Graham.
Guest Of Honour China poster from Atom Egoyan’s phone Photo: Anne-Katrin Titze
Ed Bahlman: Atom, it’s a beautiful score. Can you talk a little bit how you worked with the composer?
Atom Egoyan: The composer is someone I’ve been working with since Family Viewing, Mychael Danna. He’s a very brilliant composer. Because of the relationship, a lot of the visual composing...
At the Canada Now Opening Night U.S. premiere on February 13, of Atom Egoyan’s Guest Of Honour, starring David Thewlis and Laysla De Oliveira with Luke Wilson and Arsinée Khanjian, 99 Records founder Ed Bahlman asked Atom about his work with longtime composer Mychael Danna and Shannon Graham.
Guest Of Honour China poster from Atom Egoyan’s phone Photo: Anne-Katrin Titze
Ed Bahlman: Atom, it’s a beautiful score. Can you talk a little bit how you worked with the composer?
Atom Egoyan: The composer is someone I’ve been working with since Family Viewing, Mychael Danna. He’s a very brilliant composer. Because of the relationship, a lot of the visual composing...
- 3/19/2020
- by Anne-Katrin Titze and Ed Bahlman
- eyeforfilm.co.uk
As a life-long appreciator of Atom Egoyan–trust me on this one–Guest of Honour is one of his stranger pictures veering occasionally into the territory of dark comedy. While his later works (especially Remember and Captive) have yet to reach a return to the emotional resonance of his back-to-back masterpieces Exotica and The Sweet Hererafter, his latest film is a scrappy Southern Ontario indie that actually harkens back to his earliest work that kicked off the so-called Toronto New Wave, including Next of Kin, The Adjuster, and Speaking Parts. The film itself is a mystery buried deeper than it ought to be in a confessional as Veronica (Laysla De Oliveira) sits down with Father Greg (Luke Wilson) to discuss the passing of her father Jim (David Thewlis). She notes his motivations were often very strange–as if we’d come to expect anything else in an Atom Egoyan picture.
- 9/24/2019
- by John Fink
- The Film Stage
Mubi is celebrating Canadian National Film Day, in partnership with Reel Canada, by exclusively showing Atom Egoyan's Calendar (1993). It is playing on Mubi from April 20 - May 19, 2016. Many thanks to the director, who generously has shared this new introduction to his film.Calendar. Photo © Ego Film Arts.It started with a very simple urge: to go there. Though both my parents are Armenian, I was born in Cairo, raised in Canada, and had never visited my “mother country.” In 1991 my fourth feature, The Adjuster, had been invited to the Moscow Film Festival. It won a prize, which included one million rubles (a fortune back then) to make a film somewhere in the Soviet Union. At the time, Armenia was part of the Soviet Union, and this would be my opportunity to go there.Over the next year, as I began to formulate an idea for a film, fate would work against me.
- 4/18/2016
- by Atom Egoyan
- MUBI
Cannes – Friday May 16th
The first title out of the gate at this morning’s 8:30 a.m. showing was the first of three Canadian films in the Main Competition. Snatched up earlier by the A24 folks, starring Ryan Reynolds, Scott Speedman, Rosario Dawson and Mireille Enos, The Captive landed mostly 2 star notes with our panel, unfortunately making Atom Egoyan’s kidnapping thriller the first misfire of the fest. Winner of the Grand Prix and the International Critic’s Prize by the F.I.P.R.E.S.C.I.for The Sweet Hereafter in 1997, the Canuck has been at the fest’s Directors’ Fortnight for Speaking Parts (1989) and The Adjuster (1991) and found a home in the official selections for six features: Exotica (1994), Felicia’s Journey (1993), Ararat (2002 – Out of Comp), Where the Truth Lies (2005) and 2008′s Adoration.
Nuri Bilge Ceylan’s over three hour dialogue driven drama occupied a one time showing 3:00 p.
The first title out of the gate at this morning’s 8:30 a.m. showing was the first of three Canadian films in the Main Competition. Snatched up earlier by the A24 folks, starring Ryan Reynolds, Scott Speedman, Rosario Dawson and Mireille Enos, The Captive landed mostly 2 star notes with our panel, unfortunately making Atom Egoyan’s kidnapping thriller the first misfire of the fest. Winner of the Grand Prix and the International Critic’s Prize by the F.I.P.R.E.S.C.I.for The Sweet Hereafter in 1997, the Canuck has been at the fest’s Directors’ Fortnight for Speaking Parts (1989) and The Adjuster (1991) and found a home in the official selections for six features: Exotica (1994), Felicia’s Journey (1993), Ararat (2002 – Out of Comp), Where the Truth Lies (2005) and 2008′s Adoration.
Nuri Bilge Ceylan’s over three hour dialogue driven drama occupied a one time showing 3:00 p.
- 5/16/2014
- by Eric Lavallee
- IONCINEMA.com
Could this be a return to form for Atom Egoyan? Following the announcement of its official selection for this year’s Cannes film festival, the first trailer for Egoyan’s The Captive is online, and it looks like a tense, psychological thriller.
Since hitting his stride in the 90s with a series of multi-faceted, insightful dramas—Speaking Parts, The Adjuster, Exotica, The Sweet Hereafter, Felicia’s Journey, Ararat—Egoyan has hit a slump in regard to critical acclaim for his more recent work. But hopefully “The Captive” will put the major Canadian filmmaker—and former Cannes winner—back on the map. The plot, which involves the disappearance of a little girl and her subsequent re-surfacing eight years later on an unknown web-feed, seems like a good fit for the veteran director.
The film also stars Ryan Reynolds, Rosario Dawson, Mireille Enos, Scott Speedman, and Egoyan preferred actor, Bruce Greenwood.
Source:...
Since hitting his stride in the 90s with a series of multi-faceted, insightful dramas—Speaking Parts, The Adjuster, Exotica, The Sweet Hereafter, Felicia’s Journey, Ararat—Egoyan has hit a slump in regard to critical acclaim for his more recent work. But hopefully “The Captive” will put the major Canadian filmmaker—and former Cannes winner—back on the map. The plot, which involves the disappearance of a little girl and her subsequent re-surfacing eight years later on an unknown web-feed, seems like a good fit for the veteran director.
The film also stars Ryan Reynolds, Rosario Dawson, Mireille Enos, Scott Speedman, and Egoyan preferred actor, Bruce Greenwood.
Source:...
- 4/17/2014
- by Griffin Bell
- SoundOnSight
With big names like Cronenberg and Polley already announced a couple of weeks ago, it came time this morning to announced the rest of the home team for the Toronto International Film Festival. This morning, they filled in some of the gaps in the Special Presentations, Vanguard, and Real to Reel sections, and at the same time presented the full line-ups for their Canada First! and Short Cuts programmes, the former highlighting feature debuts, and the latter comprised of a whopping 43 Canadian short films running anywhere from 4 to 28 minutes long. We saw the announcements of Maddin's Keyhole and Vallée's Venice Days entry Café de Flore coming from a mile away. Invariably, almost all any given year's Canada's Top Ten list (a prestigious, juried selection of the ten best Canadian films of the year) have appeared somewhere in Tiff's Canadian categories. Also from Venice, we have the non-Canadian helmer Mary Harron...
- 8/9/2011
- IONCINEMA.com
Although Canada was long ignored as a film producing country, it has produced the English-speaking world’s two greatest filmmakers after 1990. If one of these is David Cronenberg, the other is Atom Egoyan, who, like David Lynch, is an artist whose work is compelling but also bewildering. If Lynch’s films attain their effects partly through Angelo Badalamenti’s music, Egoyan has had an equally important collaboration with composer Mychael Danna. The difference is perhaps that while much of Lynch’s cinema is surreal in some sense, many of Egoyan’s films – the earlier ones – are dominated by the absurd. If the ‘surreal’ is more striking, flamboyant and/or wildly comic, the ‘absurd’ is wrier. Both strive for truths that go beyond the ‘real’ but while the ‘surreal’ seeks out metaphysical and/or social truths the ‘absurd’ attempts to find truths of a personal and/or psychological nature.
Although Egoyan...
Although Egoyan...
- 7/25/2011
- by MK Raghvendra
- DearCinema.com
Actor who was at his best in shadowy roles
The actor Maury Chaykin, who has died aged 61 after a heart-valve infection, was an American and a Canadian citizen, and his career reflected his dual nationality. In the Us, he was a familiar face, if not a recognisable name, playing small but telling roles in major films. His breakthrough came in Dances With Wolves (1990), playing Major Fambrough, who sends Kevin Costner on his frontier assignment and then kills himself. Chaykin's only leading role was in the cable TV series A Nero Wolfe Mystery (2001), as the titular detective who refuses to leave his house, delegating that to his assistant (Timothy Hutton).
In Canada, Chaykin was something of a national treasure. He won a Genie award for best actor for his performance as a Brian Wilson-like burned-out rock star in Whale Music (1994), gave remarkable performances in three films directed by Atom Egoyan...
The actor Maury Chaykin, who has died aged 61 after a heart-valve infection, was an American and a Canadian citizen, and his career reflected his dual nationality. In the Us, he was a familiar face, if not a recognisable name, playing small but telling roles in major films. His breakthrough came in Dances With Wolves (1990), playing Major Fambrough, who sends Kevin Costner on his frontier assignment and then kills himself. Chaykin's only leading role was in the cable TV series A Nero Wolfe Mystery (2001), as the titular detective who refuses to leave his house, delegating that to his assistant (Timothy Hutton).
In Canada, Chaykin was something of a national treasure. He won a Genie award for best actor for his performance as a Brian Wilson-like burned-out rock star in Whale Music (1994), gave remarkable performances in three films directed by Atom Egoyan...
- 8/19/2010
- by Michael Carlson
- The Guardian - Film News
Elias Koteas has never been one of the more high-profile character actors out there, but he's always one of my favorites. (Not because of The Teenage Mutant Ninja Turtles, where he played Casey Jones, but for films like Crash and The Adjuster.) Directors like David Fincher and Martin Scorsese have started using Koteas, which has increased his profile, and now he's cast in Winnie, the biopic about Winnie Mandela. He joins Terrence Howard and Jennifer Hudson, who play Nelson and Winnie Mandela. Koteas will be De Vries, "an overzealous officer in the apartheid police stage who rises in power and becomes intent on stopping Winnie and the black anti-apartheid activists from gaining power." So not a role that audiences will look kindly on, but a major role. I'll take it. [THR] After the break, Green Lantern gets a dad and Fred Ward and Jessica Chastain book new roles. Green Lantern is...
- 6/26/2010
- by Russ Fischer
- Slash Film
Dr. Catherine Stewart (Julianne Moore) thinks her handsome husband David (Liam Neeson) is cheating on her. He's out of town a lot. He's a professor with lots of pretty young students vying for his attention (and more). Catherine and David rarely make love anymore, and the passion is so out of the relationship that they don't even pick each other up from the airport these days, something they did in the past when they couldn't stand to be apart for another moment. Determined to uncover the truth, Catherine turns to a sexy, smokey-eyed escort named Chloe (Amanda Seyfried). Chloe's misson? To seduce David and report back to Catherine. Only things don't go quite as planned. Chloe describes every intimate moment of her trysts with David, recounting them in disturbingly vivid detail. At once mortified, angry, embarrassed, and turned on, Catherine winds up in bed with Chloe. The real drama starts,...
- 4/1/2010
- by ianspelling@corp.popstar.com (Ian Spelling)
- ScreenStar
Dr. Catherine Stewart (Julianne Moore) thinks her handsome husband David (Liam Neeson) is cheating on her. He's out of town a lot. He's a professor with lots of pretty young students vying for his attention (and more). Catherine and David rarely make love anymore, and the passion is so out of the relationship that they don't even pick each other up from the airport these days, something they did in the past when they couldn't stand to be apart for another moment. Determined to uncover the truth, Catherine turns to a sexy, smokey-eyed escort named Chloe (Amanda Seyfried). Chloe's misson? To seduce David and report back to Catherine. Only things don't go quite as planned. Chloe describes every intimate moment of her trysts with David, recounting them in disturbingly vivid detail. At once mortified, angry, embarrassed, and turned on, Catherine winds up in bed with Chloe. The real drama starts,...
- 4/1/2010
- by ianspelling@corp.popstar.com (Ian Spelling)
- ScreenStar
One minute he's making uneasy arthouse films, the next he's a Hollywood gun for hire, shooting the likes of Liam Neeson. Can auteur Atom Egoyan really cope with a dip in the mainstream?
A year is a long time in the movies. Fifteen months ago, I met the Canadian film-maker Atom Egoyan as he brought his low-key indie Adoration to the London film festival. The venue was an anonymous hotel cafe. At the festival's next edition, Egoyan returns with a new film, Chloe; this one stars Julianne Moore, Liam Neeson and Amanda Seyfried, and Egoyan is holding forth in a suite at Claridge's in central London. Things have clearly gone well for him.
At our first enconter, in the cafe, Egoyan was nursing a hangover that made him pleasantly effusive. He wasn't what I expected. Even his actors can be confused; before starting work on Adoration, one of its leads,...
A year is a long time in the movies. Fifteen months ago, I met the Canadian film-maker Atom Egoyan as he brought his low-key indie Adoration to the London film festival. The venue was an anonymous hotel cafe. At the festival's next edition, Egoyan returns with a new film, Chloe; this one stars Julianne Moore, Liam Neeson and Amanda Seyfried, and Egoyan is holding forth in a suite at Claridge's in central London. Things have clearly gone well for him.
At our first enconter, in the cafe, Egoyan was nursing a hangover that made him pleasantly effusive. He wasn't what I expected. Even his actors can be confused; before starting work on Adoration, one of its leads,...
- 1/21/2010
- by Cath Clarke
- The Guardian - Film News
- As part of the special Cannes short film collection known as Chacun son cinema, in his 3 minute short film titled Artaud double bill, Atom Egoyan takes The Adjuster and inserts the camera cellphone as a method in which to communicate. His newest project seems to be headed in the same sort of direction. Screen Daily reports that Egoyan is set to shoot his next project Adoration in September with longtime friend Robert Lantos of Serendipity Point Pictures on board as executive producer. LATimes quoted the filmmaker about his newest, "Adoration's' basically about kids redefining themselves through the Internet. At less than 5 million, the extremely low-budget film looks at how students interact with the www and tells a story that is set in the near-future and involves a high school student who creates an online avatar that stimulates a real-life community of mourners for a fictional catastrophe. Though Alison Lohman
- 7/17/2007
- IONCINEMA.com
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