Oscar-winning French actress Juliette Binoche is the new president of the European Film Academy.
The Efa board on Thursday said they voted unanimously to name The English Patient and The Taste of Things star to succeed Polish director Agnieszka Holland (The Green Border) as president.
Binoche’s appointment will be put to a vote by Efa members and, assuming she receives majority support, she will take over as president on May 1, 2024.
The French star will be only the second female head of the Efa, after Holland, who took over the role in 2021, succeeding German director Wim Wenders.
“I am not a person to easily step aside, but I have come to the conclusion that I am a filmmaker first and foremost. And this is what I want to focus on in the years to come,” said Holland. “For me, it is time to step aside now. Knowing that Juliette Binoche...
The Efa board on Thursday said they voted unanimously to name The English Patient and The Taste of Things star to succeed Polish director Agnieszka Holland (The Green Border) as president.
Binoche’s appointment will be put to a vote by Efa members and, assuming she receives majority support, she will take over as president on May 1, 2024.
The French star will be only the second female head of the Efa, after Holland, who took over the role in 2021, succeeding German director Wim Wenders.
“I am not a person to easily step aside, but I have come to the conclusion that I am a filmmaker first and foremost. And this is what I want to focus on in the years to come,” said Holland. “For me, it is time to step aside now. Knowing that Juliette Binoche...
- 3/14/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
French actress Juliette Binoche (“The English Patient”) will be the next president of the European Film Academy Board, succeeding Polish director Agnieszka Holland (“Europa”) in the honorary role. Holland was the first female president of the board.
Binoche was unanimously proposed by the board members after Holland decided to step down. Following a formal approval process, which historically has been a mere formality, Binoche’s appointment will officially begin on May 1, 2024. The presidential role is primarily symbolic.
Holland, who served as chairwoman of the board until 2019, became president in 2021, succeeding German director Wim Wenders. Holland plans to fully dedicate her time to making films.
Holland’s “Europa” won the Golden Globe and was nominated for an Oscar for Best Adapted Screenplay. Her 2023 film “Green Border” won the Special Jury Prize at Venice International Film Festival.
Mike Downey, the current chair of the board, and Academy CEO Matthijs Wouter Knol said...
Binoche was unanimously proposed by the board members after Holland decided to step down. Following a formal approval process, which historically has been a mere formality, Binoche’s appointment will officially begin on May 1, 2024. The presidential role is primarily symbolic.
Holland, who served as chairwoman of the board until 2019, became president in 2021, succeeding German director Wim Wenders. Holland plans to fully dedicate her time to making films.
Holland’s “Europa” won the Golden Globe and was nominated for an Oscar for Best Adapted Screenplay. Her 2023 film “Green Border” won the Special Jury Prize at Venice International Film Festival.
Mike Downey, the current chair of the board, and Academy CEO Matthijs Wouter Knol said...
- 3/14/2024
- by Tony Maglio
- Indiewire
[Editor’s note: The following interview was conducted before the SAG-AFTRA strike began on July 14, 2023.]
The following interview has been edited and condensed for clarity.
Juliette Binoche has made her career out of playing characters who are independent, searching, unsatisfied, restless. From playing Czech protest photographer Tereza in her breakout movie, the Philip Kaufman erotic classic “The Unbearable Lightness of Being,” to playing a composer’s wife left grieving and with his baggage in Krzysztof Kieślowski’s “Three Colors: Blue,” the Academy Award-winning French actress plays women pulling themselves through confusing situations, political intrigue, and perverse romantic entanglements. Often at once.
Her body of work eschews a pat introduction, but the Quad Cinema in New York has put together a syllabus of sorts with “Beautiful Binoche,” a series of films running from August 4-10 in the lead-up to next week’s release of her new film “Between Two Worlds”, about a famous author who goes undercover as a cleaning lady to investigate the exploitation of...
The following interview has been edited and condensed for clarity.
Juliette Binoche has made her career out of playing characters who are independent, searching, unsatisfied, restless. From playing Czech protest photographer Tereza in her breakout movie, the Philip Kaufman erotic classic “The Unbearable Lightness of Being,” to playing a composer’s wife left grieving and with his baggage in Krzysztof Kieślowski’s “Three Colors: Blue,” the Academy Award-winning French actress plays women pulling themselves through confusing situations, political intrigue, and perverse romantic entanglements. Often at once.
Her body of work eschews a pat introduction, but the Quad Cinema in New York has put together a syllabus of sorts with “Beautiful Binoche,” a series of films running from August 4-10 in the lead-up to next week’s release of her new film “Between Two Worlds”, about a famous author who goes undercover as a cleaning lady to investigate the exploitation of...
- 8/2/2023
- by Ryan Lattanzio
- Indiewire
Creative studio and production company Even/Odd has partnered with the Kiarostami Foundation on a special product collection that celebrates the legendary Iranian filmmaker Abbas Kiarostami. The collection currently features three items: a 40-page graphic novel and activity book that reimagines Kairostami’s 1987 film Where Is the Friend’s House?, a small-batch mulberry jam inspired by his 1997 film Taste of Cherry and reprints of original posters designed by the filmmaker for Friend’s House, Certified Copy (2010) and A Wedding Suit (1976). These products are the first of many that the California-based company (founded by Mohammad Gorjestani, a 25 New Faces of […]
The post Even/Odd Partners with the Kiarostami Foundation on an Ongoing Product Collection first appeared on Filmmaker Magazine.
The post Even/Odd Partners with the Kiarostami Foundation on an Ongoing Product Collection first appeared on Filmmaker Magazine.
- 3/27/2023
- by Natalia Keogan
- Filmmaker Magazine - Blog
Creative studio and production company Even/Odd has partnered with the Kiarostami Foundation on a special product collection that celebrates the legendary Iranian filmmaker Abbas Kiarostami. The collection currently features three items: a 40-page graphic novel and activity book that reimagines Kairostami’s 1987 film Where Is the Friend’s House?, a small-batch mulberry jam inspired by his 1997 film Taste of Cherry and reprints of original posters designed by the filmmaker for Friend’s House, Certified Copy (2010) and A Wedding Suit (1976). These products are the first of many that the California-based company (founded by Mohammad Gorjestani, a 25 New Faces of […]
The post Even/Odd Partners with the Kiarostami Foundation on an Ongoing Product Collection first appeared on Filmmaker Magazine.
The post Even/Odd Partners with the Kiarostami Foundation on an Ongoing Product Collection first appeared on Filmmaker Magazine.
- 3/27/2023
- by Natalia Keogan
- Filmmaker Magazine-Director Interviews
The Scene 2 Seen podcast is back in a major way!
This week I’ve already published conversations with actor Michael Greyeyes and Naturi Naughton. Today, I chat with legendary actress Juliette Binoche about her newest film that tackles a difficult subject.
Paradise Highway, directed by Anna Gutto, is a riveting thriller set in the trucking industry and underbelly of human trafficking. The film stars Binoche, Morgan Freeman and Frank Grillo.
To save the life of her brother Dennis (Grillo), Sally (Binoche), a truck driver, reluctantly agrees to smuggle illicit cargo: a girl named Leila (Hala Finley). As Sally and Leila begin a danger-fraught journey across state lines, a dogged FBI operative (Freeman) sets out on their trail, determined to do whatever it takes to terminate a human-trafficking operation—and bring Sally and Leila to safety.
Binoche has won an Academy Award, a BAFTA award and multiple European Film Awards. An...
This week I’ve already published conversations with actor Michael Greyeyes and Naturi Naughton. Today, I chat with legendary actress Juliette Binoche about her newest film that tackles a difficult subject.
Paradise Highway, directed by Anna Gutto, is a riveting thriller set in the trucking industry and underbelly of human trafficking. The film stars Binoche, Morgan Freeman and Frank Grillo.
To save the life of her brother Dennis (Grillo), Sally (Binoche), a truck driver, reluctantly agrees to smuggle illicit cargo: a girl named Leila (Hala Finley). As Sally and Leila begin a danger-fraught journey across state lines, a dogged FBI operative (Freeman) sets out on their trail, determined to do whatever it takes to terminate a human-trafficking operation—and bring Sally and Leila to safety.
Binoche has won an Academy Award, a BAFTA award and multiple European Film Awards. An...
- 8/11/2022
- by Valerie Complex
- Deadline Film + TV
The face of an upscale U.S. independent cinema which climaxed with “The English Patient” and a go-to actress for many of the world’s greatest directors from Krzysztof Kieślowski to Claire Denis, France’s Juliette Binoche will receive one of this year’s San Sebastian Donostia Awards, the Spanish festival’s prestigious plaudit for career achievement.
The Award will be presented to Binoche before a screening of Denis’ “Both Sides of the Blade,” a Silver Bear winner for best director at February’s Berlin Festival.
An actor with a prolific career reaching back to her first breakout in Philip Kaufman’s “The Unbearable Lightness of Being” – one of her many movies which have been literary adaptations – Binoche will also feature on the poster of this year’s 70th San Sebastian Film Festival, snapped by French photographer Brigitte Lacombe.
Binoche’s presence gives a first French touch to San Sebastián,...
The Award will be presented to Binoche before a screening of Denis’ “Both Sides of the Blade,” a Silver Bear winner for best director at February’s Berlin Festival.
An actor with a prolific career reaching back to her first breakout in Philip Kaufman’s “The Unbearable Lightness of Being” – one of her many movies which have been literary adaptations – Binoche will also feature on the poster of this year’s 70th San Sebastian Film Festival, snapped by French photographer Brigitte Lacombe.
Binoche’s presence gives a first French touch to San Sebastián,...
- 5/13/2022
- by John Hopewell
- Variety Film + TV
IFC Films has nabbed U.S. rights to “Fire,” the new drama from celebrated French director Claire Denis. The pact marks the first major domestic deal of the Berlinale 2022 competition.
World premiering next week at the Berlin Film Festival, “Fire” is headlined by two of France’s biggest stars, Juliette Binoche (“The English Patient”) and Vincent Lindon (“Titane”). The pair have never been in a film together.
IFC Films has a long history with both Denis and Binoche. The director-driven distribution company previously handled Denis’ “Let The Sunshine In,” which starred Binoche, and “White Material.” Binoche also appeared in such as IFC releases as Olivier Assayas’ “Clouds of Sils Maria” and “Non-Fiction,” as well as Abbas Kiarostami’s “Certified Copy.”
Set in the winter in Paris, the film tells the tale of a fiery love triangle involving Jean (Lindon) and Sara (Binoche) who have been living together for 10 years. When they first met,...
World premiering next week at the Berlin Film Festival, “Fire” is headlined by two of France’s biggest stars, Juliette Binoche (“The English Patient”) and Vincent Lindon (“Titane”). The pair have never been in a film together.
IFC Films has a long history with both Denis and Binoche. The director-driven distribution company previously handled Denis’ “Let The Sunshine In,” which starred Binoche, and “White Material.” Binoche also appeared in such as IFC releases as Olivier Assayas’ “Clouds of Sils Maria” and “Non-Fiction,” as well as Abbas Kiarostami’s “Certified Copy.”
Set in the winter in Paris, the film tells the tale of a fiery love triangle involving Jean (Lindon) and Sara (Binoche) who have been living together for 10 years. When they first met,...
- 2/3/2022
- by Elsa Keslassy and Brent Lang
- Variety Film + TV
British aid worker Hana (Andrea Riseborough) is on leave and a little bit lost in Egypt, a place she once left behind. She’s perpetually in a state of psychological deja vu, which becomes quite literal when she bumps into her ex. Zeina Durra’s “Luxor” powerfully evokes that indefinable ache of revisiting a lost love that probably has a frankensteined German word for it. Here, it mostly finds its expression visually, and in Riseborough’s searching face, in
The city of Luxor, Egypt, is as crumbled as Hana’s soul, emptied out after witnessing myriad atrocities at the Jordan-Syrian border working in a war trauma unit. What she’s looking for in this ancient place is something ineffable, a slowed-down change of scenery to wipe away gruesome memories.
Hana idles in the bar at the sleepy Winter Palace Hotel where she’s staying, picking up a crass American tourist...
The city of Luxor, Egypt, is as crumbled as Hana’s soul, emptied out after witnessing myriad atrocities at the Jordan-Syrian border working in a war trauma unit. What she’s looking for in this ancient place is something ineffable, a slowed-down change of scenery to wipe away gruesome memories.
Hana idles in the bar at the sleepy Winter Palace Hotel where she’s staying, picking up a crass American tourist...
- 12/4/2020
- by Ryan Lattanzio
- Indiewire
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.
Clemency (Chinonye Chukwu)
From Escape from Alcatraz to Cool Hand Luke to The Shawshank Redemption, cinema is rich with not only prison films focused on the plight of the prisoner, but also depicting wardens in an evil light. Clemency, winner of the Dramatic Grand Jury Prize at Sundance Film Festival, flips the script in both ways, both turning the spotlight on a warden and painting her in an empathetic, complicated light. Led by Alfre Woodard, she gives a riveting, emotional performance as the Bernadine Williams, a woman who is stuck between the demands of her grueling job and a disintegrating marriage, and can’t give her all to both.
Clemency (Chinonye Chukwu)
From Escape from Alcatraz to Cool Hand Luke to The Shawshank Redemption, cinema is rich with not only prison films focused on the plight of the prisoner, but also depicting wardens in an evil light. Clemency, winner of the Dramatic Grand Jury Prize at Sundance Film Festival, flips the script in both ways, both turning the spotlight on a warden and painting her in an empathetic, complicated light. Led by Alfre Woodard, she gives a riveting, emotional performance as the Bernadine Williams, a woman who is stuck between the demands of her grueling job and a disintegrating marriage, and can’t give her all to both.
- 7/17/2020
- by Jordan Raup
- The Film Stage
In an aim to help now-shuttered independent theaters, IFC Films will allow cinemas to screen 200 of its library titles for free once they open back up. The distributor hopes that favorites like “Frances Ha,” “Y Tu Mamá También,” and even “The Human Centipede” will help drive audiences back to theaters in the coming months, a time when fewer and fewer new releases are being scheduled.
The Indie Theater Revival Project‘s offerings will be available to theaters beginning May 29, with traditional rental fees for library titles waived for theaters in the first 30 days that they’re open, starting from whatever date they reopen their doors. That means more money in the pockets in the form of ticket sales for local theater owners who have been faced with a near-zero revenue stream after closing their doors last month.
More from IndieWireHow France Is Supporting Its Film Industry During a Global CrisisWhy...
The Indie Theater Revival Project‘s offerings will be available to theaters beginning May 29, with traditional rental fees for library titles waived for theaters in the first 30 days that they’re open, starting from whatever date they reopen their doors. That means more money in the pockets in the form of ticket sales for local theater owners who have been faced with a near-zero revenue stream after closing their doors last month.
More from IndieWireHow France Is Supporting Its Film Industry During a Global CrisisWhy...
- 4/21/2020
- by Chris Lindahl
- Indiewire
In an effort to help independently-owned movie theaters recover from the coronavirus pandemic, IFC Films announced on Tuesday that it will offer over 200 of its films to those theaters without any rental fees. This will help give those theaters some classic films to screen when they reopen while they wait for new films to be released.
“Independent theaters across the country have been essential partners for us at IFC Films, and we would not be where we are today without their support,” the distributor announced in a statement. “We wanted to take the first step and let theaters know that we are committed to helping them reopen their doors by providing a selection of films to program while the new release landscape gets back to normal.”
Dubbed “The Indie Revival Project,” the program will offer selections from IFC’s catalog in various curated packs, including a “Yes We Cannes!” program...
“Independent theaters across the country have been essential partners for us at IFC Films, and we would not be where we are today without their support,” the distributor announced in a statement. “We wanted to take the first step and let theaters know that we are committed to helping them reopen their doors by providing a selection of films to program while the new release landscape gets back to normal.”
Dubbed “The Indie Revival Project,” the program will offer selections from IFC’s catalog in various curated packs, including a “Yes We Cannes!” program...
- 4/21/2020
- by Jeremy Fuster
- The Wrap
IFC Films is offering embattled indie theaters hundreds of films from its library to screen when they re-open from their mass Covid-19 related shutdown.
The movies, which include such IFC classics as “Y Tu Mama Tambien” and “Boyhood,” will be made available to cinemas without any rental fees. The retrospective program boasts roughly 200 films. Theaters will not be charged any film rental.
“We are honoring the partnership we’ve had with theaters over the last 20 years and we’re sending them a message of solidarity and gratefulness,” said Lisa Schwartz, co-president of IFC Films. “They’ve been with us since beginning and when they come back, we want to be there with them.”
The indie studio is currently celebrating its 20th anniversary and had been putting together programming to honor the occasion. After coronavirus closed most theaters in March, IFC began to rethink its plans.
“This was a positive way...
The movies, which include such IFC classics as “Y Tu Mama Tambien” and “Boyhood,” will be made available to cinemas without any rental fees. The retrospective program boasts roughly 200 films. Theaters will not be charged any film rental.
“We are honoring the partnership we’ve had with theaters over the last 20 years and we’re sending them a message of solidarity and gratefulness,” said Lisa Schwartz, co-president of IFC Films. “They’ve been with us since beginning and when they come back, we want to be there with them.”
The indie studio is currently celebrating its 20th anniversary and had been putting together programming to honor the occasion. After coronavirus closed most theaters in March, IFC began to rethink its plans.
“This was a positive way...
- 4/21/2020
- by Brent 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 an archive of past round-ups here.
Before we get to our weekly streaming picks, check out our annual feature: Where to Stream the Best Films of 2019.
Cold Case Hammarskjöld (Mads Brügger)
In 1961, Secretary-General of the United Nations Dag Hammarskjöld was killed in a plane crash in Africa under mysterious circumstances. Beginning as an investigation into his still-unsolved death, the trail that Mads Brügger follows in Cold Case Hammarskjöld is one that expands to implicate some of the world’s most powerful governments in unfathomably heinous crimes. Without revealing the specifics of the jaw-dropping revelations in this thoroughly engrossing documentary, if there’s any justice, what is brought to light will cause global...
Before we get to our weekly streaming picks, check out our annual feature: Where to Stream the Best Films of 2019.
Cold Case Hammarskjöld (Mads Brügger)
In 1961, Secretary-General of the United Nations Dag Hammarskjöld was killed in a plane crash in Africa under mysterious circumstances. Beginning as an investigation into his still-unsolved death, the trail that Mads Brügger follows in Cold Case Hammarskjöld is one that expands to implicate some of the world’s most powerful governments in unfathomably heinous crimes. Without revealing the specifics of the jaw-dropping revelations in this thoroughly engrossing documentary, if there’s any justice, what is brought to light will cause global...
- 12/20/2019
- by Jordan Raup
- The Film Stage
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film at Lincoln Center
“Another Country: Outsider Visions of America” offers films by Raúl Ruiz, Straub-Huillet, Wenders, Verhoeven and more.
Eternal Sunshine plays for free Friday night on Governor’s Island.
IFC Center
The rather staggering Abbas Kiarostami retrospective continues, with screenings of the Koker trilogy, Ten, Taste of Cherry, Certified Copy and more.
Metrograph...
Film at Lincoln Center
“Another Country: Outsider Visions of America” offers films by Raúl Ruiz, Straub-Huillet, Wenders, Verhoeven and more.
Eternal Sunshine plays for free Friday night on Governor’s Island.
IFC Center
The rather staggering Abbas Kiarostami retrospective continues, with screenings of the Koker trilogy, Ten, Taste of Cherry, Certified Copy and more.
Metrograph...
- 8/9/2019
- by Nick Newman
- The Film Stage
Independent distributor IFC Films is poised to launch its own streaming service called IFC Films Unlimited, which will initially be accessible through Amazon Prime Video Channels. The service will include hundreds of movies, including The Babadook, The Trip, Y Tu Mama Tambien, Certified Copy, Gomorrah, and more. But even with its own impressive selection of acclaimed independent […]
The post IFC Films Unlimited is Another New Streaming Service, But Can It Last? appeared first on /Film.
The post IFC Films Unlimited is Another New Streaming Service, But Can It Last? appeared first on /Film.
- 5/18/2019
- by Ben Pearson
- Slash Film
IFC Films is getting into the streaming game, launching its own subscription-based, video on demand streaming service on Thursday.
Called IFC Films Unlimited, the catalog of movies will draw on titles from the IFC Films, IFC Midnight and Sundance Select labels, including so far “Y Tu Mama Tambien,” “The Trip,” “45 Years,” “The Babadook” and more as part of an initial offering of several hundred movies.
The service launches today and will be available exclusively on Amazon Prime Video channels for $5.99 per month. The service hopes to eventually be available on additional platforms.
Also Read: 'The Sound of Silence' With Peter Sarsgaard and Rashida Jones Acquired By IFC Films
The launch was made to coincide with the Cannes Film Festival, taking place now. IFC has distributed five winners of the festival’s top prize, the Palme d’Or, and three of those movies, “4 Months, 3 Weeks and 2 Days,” “Dheepan...
Called IFC Films Unlimited, the catalog of movies will draw on titles from the IFC Films, IFC Midnight and Sundance Select labels, including so far “Y Tu Mama Tambien,” “The Trip,” “45 Years,” “The Babadook” and more as part of an initial offering of several hundred movies.
The service launches today and will be available exclusively on Amazon Prime Video channels for $5.99 per month. The service hopes to eventually be available on additional platforms.
Also Read: 'The Sound of Silence' With Peter Sarsgaard and Rashida Jones Acquired By IFC Films
The launch was made to coincide with the Cannes Film Festival, taking place now. IFC has distributed five winners of the festival’s top prize, the Palme d’Or, and three of those movies, “4 Months, 3 Weeks and 2 Days,” “Dheepan...
- 5/16/2019
- by Brian Welk
- The Wrap
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday.
This week’s question: What is the best romantic comedy of the last 10 years?
Ken Bakely (@kbake_99), Freelance for Film Pulse
Perhaps its basis on real-life events goes some of the way in getting it there, but “The Big Sick” is a wonderfully affecting and funny movie, and one of the reasons it works is because of how well it examines its characters, their backgrounds, and their personalities. Romantic comedies are dependent on the strengths of how the characters are developed, and while co-writers Emily V. Gordon and Kumail Nanjiani may have used autobiographical inspiration in setting the stage, their storytelling talents ensure that the film’s world is thoughtfully realized, richly textured, and fully coherent from start to finish. A superb cast, led by Nanjiani himself, rounds off the film’s...
This week’s question: What is the best romantic comedy of the last 10 years?
Ken Bakely (@kbake_99), Freelance for Film Pulse
Perhaps its basis on real-life events goes some of the way in getting it there, but “The Big Sick” is a wonderfully affecting and funny movie, and one of the reasons it works is because of how well it examines its characters, their backgrounds, and their personalities. Romantic comedies are dependent on the strengths of how the characters are developed, and while co-writers Emily V. Gordon and Kumail Nanjiani may have used autobiographical inspiration in setting the stage, their storytelling talents ensure that the film’s world is thoughtfully realized, richly textured, and fully coherent from start to finish. A superb cast, led by Nanjiani himself, rounds off the film’s...
- 2/11/2019
- by David Ehrlich
- Indiewire
Update Below
Lincoln Plaza Cinema — the first stop for much acclaimed independent and foreign fare since 1981 — will shutter next month when its New York City lease ends, according to Deadline. Occupying an Upper West Side residential building’s basement, the six-screen theater has hosted exclusive engagements of films like “Fahrenheit 9/11” and “Certified Copy.” It is operated as a partnership between the founder of the former New Yorker Films distribution company, Dan Talbot; France’s Gaumont Film Company, a mini-major studio; and local real estate investment film Milstein Properties, the owner of the site.
Read More:Dan Talbot’s 2004 Gotham Awards Speech
Talbot’s wife of 68 years, Toby, told Deadline that they “did everything we could to ask for the lease to be extended,” to no avail, as Milstein is “looking to make money” and “get everything [they] can.”
Multiple sources told IndieWire that Howard Milstein, chairman of Milstein Properties, had been seeking...
Lincoln Plaza Cinema — the first stop for much acclaimed independent and foreign fare since 1981 — will shutter next month when its New York City lease ends, according to Deadline. Occupying an Upper West Side residential building’s basement, the six-screen theater has hosted exclusive engagements of films like “Fahrenheit 9/11” and “Certified Copy.” It is operated as a partnership between the founder of the former New Yorker Films distribution company, Dan Talbot; France’s Gaumont Film Company, a mini-major studio; and local real estate investment film Milstein Properties, the owner of the site.
Read More:Dan Talbot’s 2004 Gotham Awards Speech
Talbot’s wife of 68 years, Toby, told Deadline that they “did everything we could to ask for the lease to be extended,” to no avail, as Milstein is “looking to make money” and “get everything [they] can.”
Multiple sources told IndieWire that Howard Milstein, chairman of Milstein Properties, had been seeking...
- 12/16/2017
- by Jenna Marotta
- Indiewire
It’s the shock of seeing Norman Bates, knife in hand, clad in his mother’s clothes, grinning maniacally in the swinging lamplight. It’s the realization that Kevin Spacey spun us a bunch of lies, and was actually Keyser Söze the whole time. It’s finally connecting “I see dead people” with Bruce Willis being shot at the beginning of “The Sixth Sense.” When movies pull the rug from under us, it’s one of the greatest thrills that cinema can provide.
As Hollywood continues to reboot countless old properties, it’s easy to think that the days of original and surprising storytelling are long behind us. But these films prove that Hollywood still has a few tricks up its sleeve, ones that have kept us talking for years, and have cemented their place in film history.
Beware of spoilers! Here are the best plot twists of the 21st...
As Hollywood continues to reboot countless old properties, it’s easy to think that the days of original and surprising storytelling are long behind us. But these films prove that Hollywood still has a few tricks up its sleeve, ones that have kept us talking for years, and have cemented their place in film history.
Beware of spoilers! Here are the best plot twists of the 21st...
- 11/3/2017
- by Jamie Righetti, Chris O'Falt, Kate Erbland, Zack Sharf, David Ehrlich, Jenna Marotta, William Earl and Jude Dry
- Indiewire
Above: French poster for Let the Sun Shine In (Claire Denis, 2017, France).Seven years ago, when I did my first round-up of posters of the New York Film Festival, I led off with a Juliette Binoche poster (for Certified Copy) so it seems fitting to kick off again with this rapturous image of Binoche for Claire Denis’ Let the Sun Shine In. It may not be the best poster of the festival—though it’s not bad—but Binoche’s look of blissful abandon seems fitting as New York cinephiles head into another fortnight of cinematic nirvana.As usual I’ve tried to collect posters for all the films in the festival’s main slate, the only two I came up short on being Serge Bozon’s Mrs. Hyde and Chloé Zhao’s The Rider. The best poster of the festival might well be one of many designs for Lucrecia Martel...
- 9/29/2017
- MUBI
'In the Fade' with Diane Kruger: Fatih Akin's German-language Avenging Woman drama may give its star the chance to become next awards season Isabelle Huppert. Diane Kruger: 2017–2018 awards season's Isabelle Huppert? The 2003 Cannes Film Festival's Female Revelation Chopard Trophy winner, Diane Kruger was Cannes' 2017 Best Actress winner for Fatih Akin's In the Fade / Aus dem Nichts. If Akin's German drama finds a U.S. distributor before the end of the year, Kruger could theoretically become the Isabelle Huppert of the 2017–2018 awards season – that is, in case the former does become a U.S. critics favorite while we stretch things a bit regarding the Kruger-Huppert commonalities. Just a bit, as both are European-born Best Actress Cannes winners who have been around for a while (in Huppert's case, for quite a while). Perhaps most importantly, like Huppert in Paul Verhoeven's Elle, Kruger plays a woman out for revenge in In the Fade. Diane Kruger-Isabelle Huppert 'differences' There is, however, one key difference between the two characters: in Elle, Huppert wants to avenge her own rape; in In the Fade, Kruger wants to avenge the death of her Turkish husband (Numan Acar) and their son (Rafael Santana) at the hands of white supremacist terrorists. Another key difference, this time about the Kruger-Huppert Cannes Film Festival connection: although Isabelle Huppert became a U.S. critics favorite – and later a Best Actress Oscar nominee – for her performance in Elle, her (unanimous) Best Actress Cannes win was for another movie, Michael Haneke's The Piano Teacher / La pianiste back in 2001. At that time, Huppert also became a U.S. critics favorite (winning Best Actress honors in San Diego and San Francisco; a runner-up in Los Angeles and New York), but, perhaps because of the psychological drama's sexually charged nature, she failed to receive a matching Oscar nod. Last year's Cannes Best Actress, by the way, was Jaclyn Jose for Brillante Mendoza's Philippine drama Ma' Rosa. Huppert had been in contention as well, as Elle was in the running for the Palme d'Or. Diane Kruger Best Actress Oscar nomination chances? A Best Actress nomination for Diane Kruger at the German Academy Awards (a.k.a. Lolas) – for her first German-language starring role – is all but guaranteed. Curiously, that would be her first. As for a Best Actress Oscar nod, that's less certain. For starters, unlike the mostly well-reviewed Elle, In the Fade has sharply divided critics. The Hollywood Reporter, for one, summarized Akin's film as a “thriller made riveting by an emotional performance from Diane Kruger,” while The Guardian's Peter Bradshaw called it a “mediocre revenge drama” with “a not particularly good” star turn. Besides, since the year 2000 just one “individual” Best Actress Cannes winner has gone on to receive an Oscar nomination for the same performance: Rooney Mara*, who, though one of the two leads in Todd Haynes' Carol (2011), was shortlisted in the Oscars' Best Supporting Actress category so as not to compete with her co-star and eventual Best Actress nominee Cate Blanchett. Then there's the special case of Penélope Cruz; the 2006 Best Actress Oscar nominee – for Pedro Almodóvar's Volver – was a Cannes winner as part of that family comedy-drama ensemble†. And finally, despite their Cannes Best Actress win for performances in (at least partly) English-language films, no less than seven other actresses have failed to be shortlisted for the Academy Awards this century. Björk, Dancer in the Dark (2000). Maggie Cheung, Clean (2004). Hanna Laslo, Free Zone (2005). Charlotte Gainsbourg, Antichrist (2009). Juliette Binoche, Certified Copy (2010). Kirsten Dunst, Melancholia (2011). Julianne Moore, Maps to the Stars (2014). Coincidentally, that same year Moore starred in Still Alice, which eventually earned her the Best Actress Oscar. Warner Bros. will be distributing In the Fade in Germany later this year. Regarding the Oscars, whether late in 2017 or late in 2018, seems like it would be helpful if Diane Kruger got a hold of Isabelle Huppert's – and/or Marion Cotillard's and Jean Dujardin's – U.S.-based awards season publicists. * Rooney Mara shared the 2011 Cannes Film Festival Best Actress Award with Emmanuelle Bercot for My King / Mon roi. † Also in the Cannes-winning Volver ensemble: Carmen Maura, Lola Dueñas, Blanca Portillo, Chus Lampreave, and Yohana Cobo. 'The Beguiled' trailer: Colin Farrell cast in the old Clint Eastwood role in Sofia Coppola's readaptation of Civil War-set, lust & circumstance drama. Sofia Coppola ends Cannes female drought About 13 years ago, Sofia Coppola became the first American woman to be shortlisted for the Best Director Academy Award – for the Tokyo-set drama Lost in Translation, starring Bill Murray and Scarlett Johansson. Coppola eventually lost in that category to Peter Jackson for the blockbuster The Lord of the Rings: The Return of the King, but she did take home that year's Best Original Screenplay Oscar statuette. There haven't been any other Oscar nominations since, but her father-daughter drama Somewhere, toplining Stephen Dorff and Elle Fanning, was the controversial Golden Lion winner at the 2010 Venice Film Festival. This year, Coppola has become only the second woman to win the Cannes Film Festival's Best Director Award – for The Beguiled, an American Civil War-set drama based on Thomas P. Cullinan's 1966 novel of the same name (originally published as A Painted Devil). With shades of Rumer Godden's Black Narcissus, The Beguiled follows a wounded Union soldier as he finds refuge at a girls' boarding school in Virginia. Sexual tension and assorted forms of pathological behavior ensue. Tenuous Cannes-Oscar Best Director connection From 2000 to 2016, 20 filmmakers† have taken home the Cannes Film Festival's Best Director Award. Of these, only four have gone on to receive matching Best Director Oscar nominations – but no wins: David Lynch, Mulholland Dr. (2001). Alejandro González Iñárritu, Babel (2006). Julian Schnabel, The Diving Bell and the Butterfly (2007). Bennett Miller, Foxcatcher (2014). Four other Cannes Best Director winners were bypassed by the Academy even though their movies featured – at least a sizable chunk of – English-language dialogue: Joel Coen, The Man Who Wasn't There§ (2001). Paul Thomas Anderson, Punch-Drunk Love (2002). Gus Van Sant, Elephant (2004). Nicolas Winding Refn, Drive (2011). In other words, a Best Director Cannes Film Festival win is no guarantee of a Best Director Academy Award nomination. Ultimately, Sofia Coppola's chances of an Oscar nod in the Best Director category depend on how well The Beguiled is received among Los Angeles and New York film circles, and how commercially successful – for an “arthouse movie” – it turns out to be. † During that period, there were three Cannes Film Festival Best Director ties: 2001: Joel Coen for The Man Who Wasn't There§ & David Lynch for Mulholland Dr. 2002: Im Kwon-taek for Painted Fire & Paul Thomas Anderson for Punch-Drunk Love. 2016: Cristian Mungiu for Graduation & Olivier Assayas for Personal Shopper. Both films opened in the U.S. in spring 2017 and may thus be eligible for the upcoming awards season. § Ethan Coen co-directed The Man Who Wasn't There, but didn't receive credit in that capacity. 'The Beguiled' with Nicole Kidman. The Best Actress Oscar winner ('The Hours,' 2002) had two movies in the Cannes Film Festival's Official Competition; the other one was 'The Killing of the Secret Deer,' also with Colin Farrell. Moreover, Kidman was the recipient of Cannes' special 70th Anniversary Prize. 'Sly' & 'elegant' Also adapted by Sofia Coppola, The Beguiled will be distributed in the U.S. by Oscar veteran Focus Features (Brokeback Mountain, The Danish Girl). The film has generally received positive notices – e.g., “sly” and “elegant” in the words of Time magazine's Stephanie Zacharek – and could well become a strong awards season contender in various categories. The cast includes The Killing of a Sacred Deer actors Nicole Kidman and Colin Farrell, in addition to Kirsten Dunst (the star of Coppola's Marie Antoinette), Somewhere actress Elle Fanning, Oona Laurence, Addison Riecke, Angourie Rice, and Emma Howard. As an aside, Cullinan's novel also served as the basis for Don Siegel's The Beguiled (1971), a Southern Gothic effort adapted by Irene Kamp and former Hollywood Ten member Albert Maltz. In the cast of what turned out to be a major box office flop: Clint Eastwood, Geraldine Page, Elizabeth Hartman, and Jo Ann Harris. Women directors at Cannes & the Oscars For the record, Soviet filmmaker Yuliya Solntseva was the Cannes Film Festival's first Best Director winner, for The Story of the Flaming Years back in 1961. The only woman to have directed a Palme d'Or winner is Jane Campion, for The Piano (1993). Early in 1994, Campion became the second woman to be shortlisted for an Academy Award in the Best Director category. The first one was Lina Wertmüller for Seven Beauties (1976). 'A Gentle Night' & 'Montparnasse Bienvenue' Qiu Yang's short film Palme d'Or winner A Gentle Night should be automatically eligible for the 2018 Academy Awards. But competition, as usual, will be fierce. In the last decade, the only short film Palme d'Or winner to have received an Oscar nomination is Juanjo Giménez Peña's Timecode (2016), in the Best Live Action Short Film category. This article was originally published at Alt Film Guide (http://www.altfg.com/).
- 6/21/2017
- by Steph Mont.
- Alt Film Guide
Abbas Kiarostami, the great Iranian postmodernist who died last summer at the age of 76, used to say that he preferred the kind of movies that put their audience to sleep. “Some films have made me doze off in the theater,” he would explain, “but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for for weeks.” So while I passed out (and passed out hard) roughly 15 minutes into “24 Frames,” the fascinating, posthumously completed non-narrative project that will serve as Kiarostami’s final farewell, I suspect that he wouldn’t take my unconsciousness as a criticism or a show of disrespect.
On the contrary, I imagine that he would have been delighted to see the dozens of nodding heads that dotted the film’s final Cannes screening, where the narcotic quality of Kiarostami’s cinema was...
On the contrary, I imagine that he would have been delighted to see the dozens of nodding heads that dotted the film’s final Cannes screening, where the narcotic quality of Kiarostami’s cinema was...
- 5/28/2017
- by David Ehrlich
- Indiewire
When she’s not working with the greatest auteurs in world cinema, Juliette Binoche is letting loose and exercising her comedic muscles — at least, if this trailer for an upcoming French comedy is any indication. Telle mère, telle fille aka Baby Bump(s) finds the Certified Copy actress as a mother who gets pregnant at the same time as her daughter, and wackiness ensues.
Also starring Camille Cottin, Lambert Wilson, and Catherine Jacob, it comes from co-writer/director Noémie Saglio and there’s no word if we’ll even see it pop up in the United States. Set for a release in France at the end of this month, it’s entertaining enough to see Binoche enjoying herself in this comedic playing field. Check out the trailer below and although there are no hardcoded subtitles, you can get a translation by clicking “Cc” then in settings, choosing the language of your choice.
Also starring Camille Cottin, Lambert Wilson, and Catherine Jacob, it comes from co-writer/director Noémie Saglio and there’s no word if we’ll even see it pop up in the United States. Set for a release in France at the end of this month, it’s entertaining enough to see Binoche enjoying herself in this comedic playing field. Check out the trailer below and although there are no hardcoded subtitles, you can get a translation by clicking “Cc” then in settings, choosing the language of your choice.
- 3/7/2017
- by Jordan Raup
- The Film Stage
I vividly remember the 2012 Sundance Film Festival, even though I was 2,000 miles away when it happened. That was the year “Beasts of the Southern Wild” premiered to the kind of rapturous response that’s usually reserved for new popes or Marvel trailers. The reviews were ecstatic, and on Twitter critics were falling over themselves to declare the movie a milestone in the history of independent cinema. I couldn’t wait to see it.
And then I did.
That’s when I decided that I had to go to Sundance for myself, that I had to vet these films first-hand. I was fascinated by the disconnect. I had big questions. Was the air in Park City as thin as they say? Why do Sundance films always seem to get over-hyped while Cannes films always seem to get under-hyped? (I’ll never forgive the shrugged response to “Certified Copy.”)
And then, on...
And then I did.
That’s when I decided that I had to go to Sundance for myself, that I had to vet these films first-hand. I was fascinated by the disconnect. I had big questions. Was the air in Park City as thin as they say? Why do Sundance films always seem to get over-hyped while Cannes films always seem to get under-hyped? (I’ll never forgive the shrugged response to “Certified Copy.”)
And then, on...
- 1/31/2017
- by David Ehrlich
- Indiewire
Stanley Tucci, Catherine Deneuve dramas join competition; TV dramas and Oleg Sentsov doc set to get world premiere.
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the festival in Out Of Competition berths are Stanley Tucci-directed Final Portrait and Catherine Deneuve drama Sage Femme.
James Gray’s The Lost City Of Z will have its interntional premiere while documentary The Trial: The State of Russia vs Oleg Sentsov will have its world premiere.
Among TV world premieres are Amazon’s Patriot and BBC One’s SS-gb.
In total, 18 of the 24 films selected for Competitionwill be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year...
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the festival in Out Of Competition berths are Stanley Tucci-directed Final Portrait and Catherine Deneuve drama Sage Femme.
James Gray’s The Lost City Of Z will have its interntional premiere while documentary The Trial: The State of Russia vs Oleg Sentsov will have its world premiere.
Among TV world premieres are Amazon’s Patriot and BBC One’s SS-gb.
In total, 18 of the 24 films selected for Competitionwill be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year...
- 1/20/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Stanley Tucci, Catherine Deneuve dramas join competition; TV dramas and Oleg Sentsov doc set to get world premiere.
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the competition are
18 of the 24 films selected for Competition will be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
The Berlinale Special will present recent works by contemporary filmmakers, documentaries, and extraordinary formats, as well as brand new series from around the world.
Berlinale Special Galas will be held at the Friedrichstadt-Palast and Zoo Palast. Other Special premieres will take place at the Kino International. Moderated discussions will follow the screenings at the Haus der Berliner Festspiele.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year. Audiences...
The Berlin International Film Festival has finalised its competition and Berlinale Special strands.
Joining the competition are
18 of the 24 films selected for Competition will be competing for the Golden and the Silver Bears. 22 of the films will have their world premieres at the festival.
The Berlinale Special will present recent works by contemporary filmmakers, documentaries, and extraordinary formats, as well as brand new series from around the world.
Berlinale Special Galas will be held at the Friedrichstadt-Palast and Zoo Palast. Other Special premieres will take place at the Kino International. Moderated discussions will follow the screenings at the Haus der Berliner Festspiele.
For the third time, Berlinale Special Series will present a selection of TV series in the official programme. Six German and international productions will have their world premieres at the Haus der Berliner Festspiele this year. Audiences...
- 1/20/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Aquarius (Kleber Mendonça Filho)
The staggeringly accomplished debut feature by Brazilian critic-turned-director Kleber Mendonça Filho, Neighboring Sounds, announced the arrival of a remarkable new talent in international cinema. Clearly recognizable as the work of the same director, Mendonça’s equally assertive follow-up, Aquarius, establishes his authorial voice as well as his place as one of the most eloquent filmic commentators on the contemporary state of Brazilian society. – Giovanni M.
Aquarius (Kleber Mendonça Filho)
The staggeringly accomplished debut feature by Brazilian critic-turned-director Kleber Mendonça Filho, Neighboring Sounds, announced the arrival of a remarkable new talent in international cinema. Clearly recognizable as the work of the same director, Mendonça’s equally assertive follow-up, Aquarius, establishes his authorial voice as well as his place as one of the most eloquent filmic commentators on the contemporary state of Brazilian society. – Giovanni M.
- 1/13/2017
- by The Film Stage
- The Film Stage
"Two strangers are about to meet. In one hour, one of them will be dead." Ripe with paranoia, the new thriller If There's a Hell Below comes out on Digital HD and DVD today from Dark Sky Films, and we had the chance to catch up with writer/director Nathan Williams to discuss the making of his first feature film, including shooting in seclusion, cinematic influences, and a bean bag chair named Joe.
Thanks for taking the time to answer some questions for us, Nathan. When and how did you originally come up with the story for If There’s a Hell Below?
Nathan Williams: I conceived the film with my brother in the summer of 2013. We had talked for years about a chamber piece thriller set entirely in a single car. We didn't end up precisely there, but we used that impulse and gave ourselves hard restrictions (two vehicles,...
Thanks for taking the time to answer some questions for us, Nathan. When and how did you originally come up with the story for If There’s a Hell Below?
Nathan Williams: I conceived the film with my brother in the summer of 2013. We had talked for years about a chamber piece thriller set entirely in a single car. We didn't end up precisely there, but we used that impulse and gave ourselves hard restrictions (two vehicles,...
- 12/6/2016
- by Derek Anderson
- DailyDead
It’s always an interesting exercise to arrive at the end of a year and take stock of the films that it produced, to squint for as much perspective as you can and see what the movies might have been saying to us, or to each other. Given the, uh, unique events of the last 12 months (or even just the last four weeks), it might take a little while longer than usual for us to have a clear sense of what the landscape really looked like. Will these films offer us rare insight into turbulent times, or — like much of what was released in theaters just prior to 9/11 — will they seem like relics from a more innocent world?
With that in mind, I thought it might be fun to get a bit more granular than usual, and to highlight individual moments from my 25 favorite films of the year (and, at least for the moment,...
With that in mind, I thought it might be fun to get a bit more granular than usual, and to highlight individual moments from my 25 favorite films of the year (and, at least for the moment,...
- 12/6/2016
- by David Ehrlich
- Indiewire
See enough films by any director and you’ll start to think you’ve got a grip on the whole thing. See everything they’ve directed — “everything,” here, constitutes 17 features and three shorts that are in excess of half an hour — and expected pleasures are chief among the reasons for continuing the journey. Yourself and Yours is enjoyable the way every other Hong Sang-soo film is enjoyable: funny, relatable and emotionally honest, structurally innovative, and composed with a patient eye that favors the peaks and valleys of conversation over standard get-to-the-point construction. Here, though, he wields a sharper blade: in its defiance of internal logic, character motivation, or even a conventional understanding, the film’s narrative (about doubles or twins or doppelgängers or all or none) brings contemplation of romantic relationships’ hardest edges — those gaps between men and women that no one’s quite figured out, perhaps because they’re...
- 10/5/2016
- by Nick Newman
- The Film Stage
It’s never a good idea to take public transportation home from a funeral, but sexagenarian philosophy professor Nathalie Chazeaux (Isabelle Huppert) insists on learning that lesson the hard way. Crumpled against the window of a bus as it groans its way through the streets of Paris, Nathalie begins to cry. The teenage girl sitting in the seat across from her eyeballs the scene like she’s resisting the urge to Instagram it, like she has no idea that it’s only a matter of time before we’re all the woman crying on the bus. That’s when Nathalie spies Heinz (Andre Marcon), still technically her husband, walking around town with the young woman who recently inspired him to walk out on his wife of 25 years.
Sometimes, life is subtle — sometimes, it’s so in your face that you just have to laugh. And that’s exactly what Nathalie does,...
Sometimes, life is subtle — sometimes, it’s so in your face that you just have to laugh. And that’s exactly what Nathalie does,...
- 10/4/2016
- by David Ehrlich
- Indiewire
Hong Sang-Soo’s ‘Yourself And Yours’ Is A Delightfully Druken Riff On Abbas Kiarostami — Nyff Review
For those familiar with the films of Hong Sang-soo, there’s really only one thing you need to know: The new one is pretty major, and not just because they drink beer this time instead of the usual soju. For those who haven’t yet been introduced to this singularly idiosyncratic Korean auteur, “Yourself and Yours” is as good a place to start as any.
But first, a quick primer: Hong Sang-soo movies have never been about what happens. Some of them are about what happened, some of them are about what could have happened, and — increasingly — some of them are about the difference between the two. Of course, the joke with Hong is that his movies are pretty much indistinguishable, these rueful, belligerently drunken comedies so similar that watching any two of them in succession is like doing one of those cartoon puzzles where you have to spot the...
But first, a quick primer: Hong Sang-soo movies have never been about what happens. Some of them are about what happened, some of them are about what could have happened, and — increasingly — some of them are about the difference between the two. Of course, the joke with Hong is that his movies are pretty much indistinguishable, these rueful, belligerently drunken comedies so similar that watching any two of them in succession is like doing one of those cartoon puzzles where you have to spot the...
- 9/30/2016
- by David Ehrlich
- Indiewire
Last Week’S Review: American Horror Story: My Roanoke Nightmare’: Season 6 Gets Off To a Spooky Good Start
Fact vs. Fiction
The first episode of “My Roanoke Nightmare” was intriguing, not just because the ads were maddeningly vague (to the point where assuming Ryan Murphy and Brad Falchuck simply hadn’t thought of an idea yet was not out of the question), but because once the set-up of the season was revealed, it was such a departure for “American Horror Story.” Sure, at its core it’s another one of ‘Ahs”s patented haunted houses, but the docu-series angle was a fresh twist.
Still, it’s a set-up with some concerns, most particularly how this conceit will play out over an entire season of television. Did they honestly hire Lily Rabe and Andre Holland just to provide running commentary? Doesn’t the fact that all of the characters...
Fact vs. Fiction
The first episode of “My Roanoke Nightmare” was intriguing, not just because the ads were maddeningly vague (to the point where assuming Ryan Murphy and Brad Falchuck simply hadn’t thought of an idea yet was not out of the question), but because once the set-up of the season was revealed, it was such a departure for “American Horror Story.” Sure, at its core it’s another one of ‘Ahs”s patented haunted houses, but the docu-series angle was a fresh twist.
Still, it’s a set-up with some concerns, most particularly how this conceit will play out over an entire season of television. Did they honestly hire Lily Rabe and Andre Holland just to provide running commentary? Doesn’t the fact that all of the characters...
- 9/22/2016
- by Jeff Stone
- Indiewire
There is no other place where fact and fiction become more indistinguishable from one another than at the cinema. What you see isn’t always what you get: a manufactured image might feel genuine, while an image that feels inauthentic might be the real thing. The finest stories can often be found somewhere in the middle. As Pablo Picasso once said, “Art is not truth. Art is a lie that makes us realize truth.”
Kate Plays Christine, the latest film from Actress and Fake It So Real director Robert Greene, caught a great deal of attention at Sundance — we gave it the highest grade at the festival — and is now in limited release. It’s a documentary that follows actress Kate Lyn Sheil (House of Cards) as she prepares for the role of Christine Chubbuck, a real-life news reporter who committed suicide via handgun on live television in 1974, and the...
Kate Plays Christine, the latest film from Actress and Fake It So Real director Robert Greene, caught a great deal of attention at Sundance — we gave it the highest grade at the festival — and is now in limited release. It’s a documentary that follows actress Kate Lyn Sheil (House of Cards) as she prepares for the role of Christine Chubbuck, a real-life news reporter who committed suicide via handgun on live television in 1974, and the...
- 8/31/2016
- by Tony Hinds
- The Film Stage
Amid the current firestorm of political anxiety and absurdity emerges Southside With You, a sweet, unadorned romance that follows young Barack Obama and Michelle Robinson’s first date back in 1989. The film offers an unexpected but welcome respite from the oft ugly election drama that’s pervaded our lives as of late, reminding us that the talking heads we watch on cable and YouTube are, in fact, attached to real people with real feelings. While the Obamas haven’t historically had any serious issues being perceived as sensitive, hard-working people, it’s still a bit startling to see them clash wits and exchange flirty glances outside the presidential circus.
The film plays out in an immediately recognizable form to those familiar with Richard Linklater’s Before series or the late Abbas Kiarostami’s Certified Copy, following the future it-couple as they walk around Chicago and use the culture-rich city as inspiration for their high-minded,...
The film plays out in an immediately recognizable form to those familiar with Richard Linklater’s Before series or the late Abbas Kiarostami’s Certified Copy, following the future it-couple as they walk around Chicago and use the culture-rich city as inspiration for their high-minded,...
- 8/30/2016
- by Bernard Boo
- We Got This Covered
Last year, the BBC polled a bunch of critics to determine the 100 greatest American films of all time and only six films released after 2000 placed at all. This year, the BBC decided to determine the “new classics,” films from the past 16 years that will likely stand the test of time, so they polled critics from around the globe for their picks of the 100 greatest films of the 21st Century so far. David Lynch’s “Mulholland Dr.” tops the list, Wong Kar-Wai’s “In The Mood For Love” places second, and Paul Thomas Anderson and the Coen Brothers both have 2 films in the top 25. See the full results below.
Read More: The Best Movies of the 21st Century, According to IndieWire’s Film Critics
Though the list itself is fascinating, what’s also compelling are the statistics about the actual list. According to the the BBC, they polled 177 film critics from every continent except Antarctica.
Read More: The Best Movies of the 21st Century, According to IndieWire’s Film Critics
Though the list itself is fascinating, what’s also compelling are the statistics about the actual list. According to the the BBC, they polled 177 film critics from every continent except Antarctica.
- 8/23/2016
- by Vikram Murthi
- Indiewire
Ryan Lambie Aug 23, 2016
A critics' survey puts Mullholland Drive at the top of the list of the best films since 2000. Did yours make the cut?
Movie critics love Linklater, Studio Ghibli, the Coens and the surrealist stylings of David Lynch. At least, that's if a newly-published list of the 100 greatest films of the 21st century is anything to go by.
BBC Culture commissioned the poll, which took in responses from 177 film critics from all over the world. As a result, the top 100 includes an eclectic mix of the mainstream to independent movies, from dramas to sci-fi and off-beat comedies. Feew would be surprised to see things like Paolo Sorrentino's handsome Italian confection The Great Beauty propping up the lower end of the list, or that such acclaimed directors as Wes Anderson or the aforementioned Coens feature heavily.
What is pleasing to see, though, is how much good genre stuff has made the cut,...
A critics' survey puts Mullholland Drive at the top of the list of the best films since 2000. Did yours make the cut?
Movie critics love Linklater, Studio Ghibli, the Coens and the surrealist stylings of David Lynch. At least, that's if a newly-published list of the 100 greatest films of the 21st century is anything to go by.
BBC Culture commissioned the poll, which took in responses from 177 film critics from all over the world. As a result, the top 100 includes an eclectic mix of the mainstream to independent movies, from dramas to sci-fi and off-beat comedies. Feew would be surprised to see things like Paolo Sorrentino's handsome Italian confection The Great Beauty propping up the lower end of the list, or that such acclaimed directors as Wes Anderson or the aforementioned Coens feature heavily.
What is pleasing to see, though, is how much good genre stuff has made the cut,...
- 8/23/2016
- Den of Geek
Although we’re only about 16% into the 21st century thus far, the thousands of films that have been released have provided a worthy selection to reflect on the cinematic offerings as they stand. We’ve chimed in with our favorite animations, comedies, sci-fi films, and have more to come, and now a new critics’ poll that we’ve taken part in has tallied up the 21st century’s 100 greatest films overall.
The BBC has polled 177 critics from around the world, resulting in a variety of selections, led by David Lynch‘s Mulholland Drive. Also in the top 10 was Wong Kar-wai‘s In the Mood For Love and Terrence Malick‘s The Tree of Life, which made my personal ballot (seen at the bottom of the page).
In terms of the years with the most selections, 2012 and 2013 each had 9, while Wes Anderson, Apichatpong Weerasethakul, Christopher Nolan, the Coens, Michael Haneke, and...
The BBC has polled 177 critics from around the world, resulting in a variety of selections, led by David Lynch‘s Mulholland Drive. Also in the top 10 was Wong Kar-wai‘s In the Mood For Love and Terrence Malick‘s The Tree of Life, which made my personal ballot (seen at the bottom of the page).
In terms of the years with the most selections, 2012 and 2013 each had 9, while Wes Anderson, Apichatpong Weerasethakul, Christopher Nolan, the Coens, Michael Haneke, and...
- 8/23/2016
- by Jordan Raup
- The Film Stage
When Iranian director Abbas Kiarostami died earlier this year, the outpouring of grief was a spectacle unmatched by any other from the film world in recent memory. Where the deaths of Jacques Rivette and Michael Cimino provoked shock and pain within the communities of their admirers, Kiarostami’s passing was of a different scale: it revealed the formative influence he exercised over the minds of a great many cinephiles, and suggested the reason that nobody seemed to be speaking about him was because there was little left to be said.
His funeral in Tehran was attended by a huge crowd of grievers, but the bustling scene paled in comparison to the sheer unanimity and ubiquity of the film community’s remorse. Like Chaplin, one of his favorite filmmakers, Kiarostami seemed to be liked by everyone.In what is plausibly Kiarostami’s last completed film, the nine-minute Cuban short “Passenger,” which...
His funeral in Tehran was attended by a huge crowd of grievers, but the bustling scene paled in comparison to the sheer unanimity and ubiquity of the film community’s remorse. Like Chaplin, one of his favorite filmmakers, Kiarostami seemed to be liked by everyone.In what is plausibly Kiarostami’s last completed film, the nine-minute Cuban short “Passenger,” which...
- 8/20/2016
- by Christopher Small
- Indiewire
The film world has been mourning Abbas Kiarostami this week, and on Friday the filmmaker’s body was returned to his birthplace of Tehran. Kiarostami, who won the Palme d’Or in 1997 for “Taste of Cherry,” died of cancer last Monday, July 4 at his home in Paris; he was 76 at the time of his passing and had been an icon of world cinema for decades.
Read More: Abbas Kiarostami Remembered: Why He Was Iran’s Essential Filmmaker — Critic’s Notebook
His sons Ahmad and Bahman attended a funeral service in Paris on Friday, but Ahmad was unable to travel to Iran due to security concerns related to his involvement in dissident organizations. He asked all those who were able to attend that, “if you are going to say goodbye to my father, wear your best attire that would be appropriate for a celebration of my father’s productive and creative life.
Read More: Abbas Kiarostami Remembered: Why He Was Iran’s Essential Filmmaker — Critic’s Notebook
His sons Ahmad and Bahman attended a funeral service in Paris on Friday, but Ahmad was unable to travel to Iran due to security concerns related to his involvement in dissident organizations. He asked all those who were able to attend that, “if you are going to say goodbye to my father, wear your best attire that would be appropriate for a celebration of my father’s productive and creative life.
- 7/10/2016
- by Michael Nordine
- Indiewire
Abbas Kiarostami had one of the most acclaimed filmographies of any working director when he died Monday at the age of 76, but the godfather of the Iranian New Wave was expected to make a major change during the next chapter of his career by exploring more experimental work like art installations and performance art.
Read More: Here’s What It’s Like to Make A Short Film with Abbas Kiarostami in 10 Days
Kiarostami had told former MoMA senior curator Laurence Kardish, who first met the filmmaker at the Cannes Film Festival in 1992, that he was very serious about moving beyond traditional cinema and being accepted by the art world. “He was thinking about ways of expressing himself in installation art and performance,” Kardish told IndieWire, adding that Kiarostami had written multiple live performance pieces that resembled plays. “He was very interested in new modes of expression.” The filmmaker has also...
Read More: Here’s What It’s Like to Make A Short Film with Abbas Kiarostami in 10 Days
Kiarostami had told former MoMA senior curator Laurence Kardish, who first met the filmmaker at the Cannes Film Festival in 1992, that he was very serious about moving beyond traditional cinema and being accepted by the art world. “He was thinking about ways of expressing himself in installation art and performance,” Kardish told IndieWire, adding that Kiarostami had written multiple live performance pieces that resembled plays. “He was very interested in new modes of expression.” The filmmaker has also...
- 7/7/2016
- by Graham Winfrey
- Indiewire
The Palme d’Or-winning director Abbas Kiarostami passed away on July 4 and since then many industry members have expressed their condolences and remembered the Iranian filmmaker and his great work. Now, The Toronto Film Festival has shared a recent two-hour “In Conversation With” video where the “Taste of Cherry” helmer joined Tiff Director & CEO Piers Handling for an intimate onstage conversation.
A true master of world cinema, the writer and director is known for acclaimed films such as “The Wind Will Carry Us” and “Certified Copy.” In the video Kiarostami talks about his life, career and his exhibition “Doors Without Keys.”
Read More: Abbas Kiarostami, Palme d’Or-Winning Director Of ‘Taste Of Cherry’ And ‘Certified Copy,’ Dies At 76
This past winter, Tiff Bell Lightbox hosted a career retrospective on the director who made this first feature, “The Report,” in 1977. He is remembered for many hit films, including his Koker trilogy,...
A true master of world cinema, the writer and director is known for acclaimed films such as “The Wind Will Carry Us” and “Certified Copy.” In the video Kiarostami talks about his life, career and his exhibition “Doors Without Keys.”
Read More: Abbas Kiarostami, Palme d’Or-Winning Director Of ‘Taste Of Cherry’ And ‘Certified Copy,’ Dies At 76
This past winter, Tiff Bell Lightbox hosted a career retrospective on the director who made this first feature, “The Report,” in 1977. He is remembered for many hit films, including his Koker trilogy,...
- 7/6/2016
- by Liz Calvario
- Indiewire
Richard Peña on Abbas Kiarostami:"It was such a privilege to know him, and more of a pleasure. Simply one of the great artists of our time." Photo: Anne-Katrin Titze
The last time I spoke with Abbas Kiarostami, who died on Monday, July 4, 2016 in Paris, was when he presented Like Someone In Love, starring Tadashi Okuno and Rin Takanashi at the New York Film Festival in 2012. The director of Ten, Certified Copy, Through The Olive Trees and the Cannes Palme d’Or winning Taste of Cherry also co-wrote Jafar Panahi's The White Balloon and Crimson Gold.
At the press conference for Like Someone In Love, moderated by Richard Peña, I commented to him how very much Yasujiro Ozu is present as absence in his film - through the grandmother, the neighbour, the people talked about and unseen. There is a mother with her two children in Halloween costumes,...
The last time I spoke with Abbas Kiarostami, who died on Monday, July 4, 2016 in Paris, was when he presented Like Someone In Love, starring Tadashi Okuno and Rin Takanashi at the New York Film Festival in 2012. The director of Ten, Certified Copy, Through The Olive Trees and the Cannes Palme d’Or winning Taste of Cherry also co-wrote Jafar Panahi's The White Balloon and Crimson Gold.
At the press conference for Like Someone In Love, moderated by Richard Peña, I commented to him how very much Yasujiro Ozu is present as absence in his film - through the grandmother, the neighbour, the people talked about and unseen. There is a mother with her two children in Halloween costumes,...
- 7/5/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Yesterday, cinema lost one of the true greats: Abbas Kiarostami, the Iranian director of Certified Copy, Taste of Cherry, and more landmark films, passed away at the age of 76. Now, other staples have shared their remembrances of the Palme d’Or winner.
Martin Scorsese, who once said the director “represents the highest level of artistry in the cinema,” tells THR, “I was deeply shocked and saddened when I heard the news of Abbas Kiarostami’s death. He was one of those rare artists with a special knowledge of the world, put into words by the great Jean Renoir: ‘Reality is always magic.’ For me, that statement sums up Kiarostami’s extraordinary body of work. Some refer to his pictures as ‘minimal’ or ‘minimalist,’ but it’s actually the opposite: every scene in Taste of Cherry or Where Is the Friend’s House? is overflowing with beauty and surprise, patiently and exquisitely captured.
Martin Scorsese, who once said the director “represents the highest level of artistry in the cinema,” tells THR, “I was deeply shocked and saddened when I heard the news of Abbas Kiarostami’s death. He was one of those rare artists with a special knowledge of the world, put into words by the great Jean Renoir: ‘Reality is always magic.’ For me, that statement sums up Kiarostami’s extraordinary body of work. Some refer to his pictures as ‘minimal’ or ‘minimalist,’ but it’s actually the opposite: every scene in Taste of Cherry or Where Is the Friend’s House? is overflowing with beauty and surprise, patiently and exquisitely captured.
- 7/5/2016
- by Mike Mazzanti
- The Film Stage
Abbas Kiarostami Photo: Pedro J Pacheco
Acclaimed Iranian director Abbas Kiarostami has died, it was revealed today. The 76 year old auteur, who won the Palme d'Or in 1997 for Taste Of Cherry, had been undergoing treatment fo gastrointestinal cancer in a Paris hospital.
Unlike many of his peers, Kiarostami remained in Iran fter the revolution, endearing himself to its people as he strove to help it develop a unique approach to cinema. He won acclaim for Works like The Wind Will Carry Us and Life, And Nothing More and Shirin, and enjoyed a second career as a producer, helping to launch Jafar Panahi's carer with The White Balloon. His last two films, however, were made abroad - Certified Copy in Italy and Like Someone In Love in Japan.
"Abbas Kiarostami's deep and unique view on life and his call to human beings for peace and friendship will remain a lasting achievement,...
Acclaimed Iranian director Abbas Kiarostami has died, it was revealed today. The 76 year old auteur, who won the Palme d'Or in 1997 for Taste Of Cherry, had been undergoing treatment fo gastrointestinal cancer in a Paris hospital.
Unlike many of his peers, Kiarostami remained in Iran fter the revolution, endearing himself to its people as he strove to help it develop a unique approach to cinema. He won acclaim for Works like The Wind Will Carry Us and Life, And Nothing More and Shirin, and enjoyed a second career as a producer, helping to launch Jafar Panahi's carer with The White Balloon. His last two films, however, were made abroad - Certified Copy in Italy and Like Someone In Love in Japan.
"Abbas Kiarostami's deep and unique view on life and his call to human beings for peace and friendship will remain a lasting achievement,...
- 7/5/2016
- by Jennie Kermode
- eyeforfilm.co.uk
Yesterday, legendary Iranian filmmaker Abbas Kiarostami died at the age of 76. The man behind such internationally acclaimed classics like “Close-Up,” “The Taste of Cherry,” “The Wind Will Carry Us,” and “Certified Copy,” Kiarostami’s uniquely personal cinematic style influenced countless directors who followed him, and opened the entire world to a whole generation of cinephiles. But before he shook the world with his features, he made his directorial debut in 1970 with “The Bread and Alley,” a neo-realistic short film about a little boy, a loaf of bread, and a hungry dog. Watch it below.
Read More: Rip Abbas Kiarostami: The Film World Mourns The Loss Of An Icon
Before breaking into filmmaking, Kiarostami worked in advertising in the 1960’s, shooting around 150 advertisements for Iranian television, and later designing credit titles for films. In 1969, Kiarostami set up a filmmaking department at the Institute for Intellectual Development of Children and Young Adults in Tehran,...
Read More: Rip Abbas Kiarostami: The Film World Mourns The Loss Of An Icon
Before breaking into filmmaking, Kiarostami worked in advertising in the 1960’s, shooting around 150 advertisements for Iranian television, and later designing credit titles for films. In 1969, Kiarostami set up a filmmaking department at the Institute for Intellectual Development of Children and Young Adults in Tehran,...
- 7/5/2016
- by Vikram Murthi
- Indiewire
Photo by Nosrat Panahi NejadWe are heartbroken to learn that Iran's greatest filmmaker, and one of the cinema's most important, innovative and moving artists, Abbas Kiarostami, has died at the age of 76. He won the Palme d'Or at Cannes in 1997 for Taste of Cherry, but his sprawling and varied filmography, beginning in 1970 in Iran and ending in Japan for 2012's Like Someone in Love, carried immeasurable impact on international cinema.Below you can find our specific writing about with the director over the years.Spectators as Characters: Close-Up on Abbas Kiarostami's Shirin by Matthew Harrison TedfordPutting the Parts Together: A Conversation with Abbas Kiarostami by Daniel KasmanAbbas Kiarostami's Like Someone in Love by Daniel KasmanLove Streams: Abbas Kiarostami's Certified Copy by Michael SicinskiWatching the Watchers: Abbas Kiarostami's Shirin by David Cairns...
- 7/5/2016
- MUBI
The world just lost another master artist yesterday, after the recent passing of Michael Cimino and Elie Wiesel. Abbas Kiarostami has passed away after a battle with gastrointestinal cancer.
Kiarostami's blended fiction and non-fiction during his over forty year career in film. One of the most prominent Iranian filmmakers, he had been a mainstay of the Cannes Film Festival, jurying multiple times and winning the Palme d'Or in 1997 for Taste of Cherry. His most recent films Certified Copy and Like Someone in Love ventured out of Iran, but it's his homegrown meditations on death like Cherry and The Wind Will Carry Us are what instantly come to mind on this sad news.
Kiarostami wasn't just a film artist but a poet as well, though poetic language heightened much of his film work. His films were soulfully awake and fiercely personal - Cherry being the brusing and enlightening standout, with Copy's...
Kiarostami's blended fiction and non-fiction during his over forty year career in film. One of the most prominent Iranian filmmakers, he had been a mainstay of the Cannes Film Festival, jurying multiple times and winning the Palme d'Or in 1997 for Taste of Cherry. His most recent films Certified Copy and Like Someone in Love ventured out of Iran, but it's his homegrown meditations on death like Cherry and The Wind Will Carry Us are what instantly come to mind on this sad news.
Kiarostami wasn't just a film artist but a poet as well, though poetic language heightened much of his film work. His films were soulfully awake and fiercely personal - Cherry being the brusing and enlightening standout, with Copy's...
- 7/5/2016
- by Chris Feil
- FilmExperience
One of the most interesting collisions of the public perception of Iran’s Islamic state and its reality is how, out of an apparently repressive state hostile to the creative arts, Abbas Kiarostami became the essential free filmmaker. “Freedom” is always a relative term when it comes to cinema, which, like politics, unfortunately runs on money. But it’s easy to spot the genuinely free filmmakers when they come along. Despite their varying struggles to get their movies made, the work that results is directly personal and unbound by prevailing cultural trends and diktats. They range from Jean Vigo to Kidlat Tahimik, Pedro Costa to Shirley Clarke, Stan Brakhage to Jose Luis Guerin. Kiarostami was the free filmmaker par excellence, since he managed to find his ever-developing acute approach to modernism through whatever system in which he might find himself working.
Read More: Abbas Kiarostami, Palme d’Or-Winning Director Of...
Read More: Abbas Kiarostami, Palme d’Or-Winning Director Of...
- 7/5/2016
- by Robert Koehler
- Indiewire
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