Two-time Academy Award-winning Aussie icon Cate Blanchett is currently in talks to join Guillermo del Toro’s next project as director, “Nightmare Alley,” Variety reports. The follow-up to “The Shape of Water,” which earned the Mexican auteur Best Director and Best Picture Oscars, will also star Bradley Cooper. As previously reported, Cooper replaced Leonardo DiCaprio earlier this summer.
Del Toro is developing “Nightmare Alley” at Fox Searchlight, the studio that took “The Shape of Water” all the way at the 2018 Academy Awards. Del Toro is working with screenwriter Kim Morgan to adapt William Lindsay Gresham’s 1946 true crime pulp novel of the same name.
The novel was previously adapted by director Edmund Goulding in 1947, but sources close to del Toro’s film say this iteration of “Nightmare Alley” is not a remake of that film, but rather, a faithful interpretation of Gresham’s text.
The novel plunges us into the...
Del Toro is developing “Nightmare Alley” at Fox Searchlight, the studio that took “The Shape of Water” all the way at the 2018 Academy Awards. Del Toro is working with screenwriter Kim Morgan to adapt William Lindsay Gresham’s 1946 true crime pulp novel of the same name.
The novel was previously adapted by director Edmund Goulding in 1947, but sources close to del Toro’s film say this iteration of “Nightmare Alley” is not a remake of that film, but rather, a faithful interpretation of Gresham’s text.
The novel plunges us into the...
- 8/2/2019
- by Ryan Lattanzio
- Indiewire
It’s usually unwise to remake a masterpiece, but Guy Maddin has something different planned for “The Green Fog,” a meditation on Alfred Hitchcock’s “Vertigo.” Unlike Gus Van Sant’s much-maligned 1998 shot-for-shot remake of “Psycho,” the Canadian director has revisited the 1958 thriller as an assemblage of old footage from San Francisco, the city where “Vertigo” takes place.
However, the project was never intended to have anything to do with “Vertigo.”
In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of...
However, the project was never intended to have anything to do with “Vertigo.”
In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of...
- 4/15/2017
- by Eric Kohn
- Indiewire
Eerie, avant-garde film installation Seances available to stream for free. “Almost every director working in the first half‐century of film history has lost at least one film to the quirks of fate. These lost works remind me of ghosts. It’s easy to equate these films long gone missing, which exist forensically only in the…
The post Stream Guy Maddin’s Haunting Experimental Film Seances for Free appeared first on Shock Till You Drop.
The post Stream Guy Maddin’s Haunting Experimental Film Seances for Free appeared first on Shock Till You Drop.
- 4/28/2016
- by Chris Alexander
- shocktillyoudrop.com
Watching Guy Maddin and Evan Johnson’s latest work Seances feels both familiar and utterly strange. Born from the knowledge that over 80% of silent movies have been lost, Maddin and his collaborators at the Nfb wanted to resurrect as many titles — both real and invented — as possible: first in 2012 in production sessions at the Centre Pompidou in Paris and the Phi Centre in Montreal that were open to the public, then last year in the feature film The Forbidden Room, and now in an interactive version called Seances that premiered at the Tribeca Film Festival’s Storyscapes event and is […]...
- 4/25/2016
- by Randy Astle
- Filmmaker Magazine - Blog
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSOf course, the biggest news in the film world over the last week has been the repeated announcements of the films included in the various festivals in Cannes this May, from the Official Selection (films by Almodóvar, Maren Ade, the Dardennes, Paul Verhoeven, and Sean Penn) and the Directors' Fortnight (Paul Schrader, Alejandro Jodorowsky, Marco Bellocchio), to Critics' Week (Oliver Laxe and Chloë Sevigny) and the increasingly higher profile Acid (including Damien Manivel's follow-up to A Young Poet, which is currently playing exclusively on Mubi in the Us).Speaking of festivals, many South Korean filmmakers will be boycotting the major Asian festival of Busan, due to interference with the organization from the city government.On a lighter note, the Loch Ness Monster has been found! Actually, no: that's no monster,...
- 4/20/2016
- by Notebook
- MUBI
Submarines, snow and brain surgery collide in these dazzling but bewildering tales within tales
Guy Maddin’s typically bewildering latest has its creative roots in the 2010 film-loop installation Hauntings, which grew into the internet Seances project; a series of short films nominally inspired by lost titles of the 20s and 30s. Created in conjunction with Evan Johnson (who gets a co-director credit), The Forbidden Room is a cinematic Russian doll of tales within tales – tales of the snow and the cave; of submarines laden with Wages of Fear-style unstable blasting jelly; of doppelgängers, demons and two-faced gods; of volcanic sacrifices and monstrous couplings; of brain surgery, memory and madness. The heavily post-produced images jump from faux-scratchy black and white to the damaged hues of two-strip Technicolor, silent movie intertitles overlapping with sound-era dialogue in a postmodern meringue of pulp cliche as the screen pulsates like infernal internal organs, or...
Guy Maddin’s typically bewildering latest has its creative roots in the 2010 film-loop installation Hauntings, which grew into the internet Seances project; a series of short films nominally inspired by lost titles of the 20s and 30s. Created in conjunction with Evan Johnson (who gets a co-director credit), The Forbidden Room is a cinematic Russian doll of tales within tales – tales of the snow and the cave; of submarines laden with Wages of Fear-style unstable blasting jelly; of doppelgängers, demons and two-faced gods; of volcanic sacrifices and monstrous couplings; of brain surgery, memory and madness. The heavily post-produced images jump from faux-scratchy black and white to the damaged hues of two-strip Technicolor, silent movie intertitles overlapping with sound-era dialogue in a postmodern meringue of pulp cliche as the screen pulsates like infernal internal organs, or...
- 12/13/2015
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Dreams! Visions! Madness!: Maddin & Johnson’s Extravagant Symphony of Silent Cinema Fantasia
Those familiar with the works of auteur Guy Maddin, sometimes referred to as the Canadian David Lynch, know to expect strange hybrids of silence film techniques mixed with zany weirdness that often reflect delightfully perverse and sometimes queer dynamics mixed in with its dashes of visual inventiveness and extreme narrative playfulness. While he still creates a healthy amount of short film projects and is involved with other installations in-between feature films, including several notable unions with actress Isabella Rossellini, who has starred in The Saddest Music in the World (2003), Keyhole (2011) and as narrator of the brilliant Brand Upon the Brain! (2006), his latest has been in gestation over a period of several years, at one point known as Seances and Spiritismes, and it was uncertain whether this would ever be a theatrical release. Known finally as The Forbidden Room,...
Those familiar with the works of auteur Guy Maddin, sometimes referred to as the Canadian David Lynch, know to expect strange hybrids of silence film techniques mixed with zany weirdness that often reflect delightfully perverse and sometimes queer dynamics mixed in with its dashes of visual inventiveness and extreme narrative playfulness. While he still creates a healthy amount of short film projects and is involved with other installations in-between feature films, including several notable unions with actress Isabella Rossellini, who has starred in The Saddest Music in the World (2003), Keyhole (2011) and as narrator of the brilliant Brand Upon the Brain! (2006), his latest has been in gestation over a period of several years, at one point known as Seances and Spiritismes, and it was uncertain whether this would ever be a theatrical release. Known finally as The Forbidden Room,...
- 10/9/2015
- by Nicholas Bell
- IONCINEMA.com
No film in recent memory leaps off the screen like The Forbidden Room, Guy Maddin and Evan Johnson‘s omnibus-like homage to numerous forms of cinematic storytelling. From the first splotchy, out-of-sync seconds, it’s clear that they’re attempting to play with the medium’s properties in a very direct, sometimes assaultive way, but this is no endurance test — in all its stories, threads, angles, and suggestions, it may also be the most consistently funny thing to hit theaters this year. (Imagine if Tim & Eric were aesthetic-obsessed cinephiles and you’ll start to get the idea.)
Because the film has no decisive start or end point — and their Internet companion piece, Seances, only further reinforces this quality — our conversation could have gone anywhere, perhaps at the concession of coherence. But, as you’ll see, they’re far too familiar with their work and far too certain of their intentions...
Because the film has no decisive start or end point — and their Internet companion piece, Seances, only further reinforces this quality — our conversation could have gone anywhere, perhaps at the concession of coherence. But, as you’ll see, they’re far too familiar with their work and far too certain of their intentions...
- 10/6/2015
- by Nick Newman
- The Film Stage
The BFI London Film Festival has unveiled its industry programme and added three innovative film-makers to new strand Lff Connects.
Industry talks Lff Connects, which aim to explore the future of film and how film engages with other creative industries, has added writer, director, visual artist and vocalist Laurie Anderson; filmmaker and artist Guy Maddin; and virtual reality maestro Chris Milk.
This is on top of the previously announced talk featuring Interstellar director Christopher Nolan and artist Tacita Dean.
Us artist Anderson is best known for her multimedia presentations and innovative use of technology. As writer, director, visual artist and vocalist she has created ground-breaking works that span the worlds of art, theatre and experimental music.
Her new documentary Heart of the Dog, which screens as a new programme addition at Lff, is her first feature since the 1986 concert movie Home of the Brave. At Lff Connects, Anderson will talk about her creative approach to filmmaking and how...
Industry talks Lff Connects, which aim to explore the future of film and how film engages with other creative industries, has added writer, director, visual artist and vocalist Laurie Anderson; filmmaker and artist Guy Maddin; and virtual reality maestro Chris Milk.
This is on top of the previously announced talk featuring Interstellar director Christopher Nolan and artist Tacita Dean.
Us artist Anderson is best known for her multimedia presentations and innovative use of technology. As writer, director, visual artist and vocalist she has created ground-breaking works that span the worlds of art, theatre and experimental music.
Her new documentary Heart of the Dog, which screens as a new programme addition at Lff, is her first feature since the 1986 concert movie Home of the Brave. At Lff Connects, Anderson will talk about her creative approach to filmmaking and how...
- 9/14/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The Forbidden Room director Guy Maddin and co-director Evan Johnson
After its world premiere at the Sundance Film Festival, Guy Maddin and co-director Evan Johnson's The Forbidden Room had its international debut in the Forum section of the Berlin International Film Festival. Together, they've made made a feverish collage of false extracts from old movies, a half forgotten, groggily recalled, dreamily regained experience of cinematic potential.
Originating from the Seances project, these self-described fragments are more like truncated (or over-extended) skits riffing from the conventions, memories and suggestions of Maddin's most beloved of periods in film history, the end of silence and beginning of sound: the queasy, delirious, awkward, voluptuous late 1920s and early 30s. The skits, some starring recognizable actors as grotesques (Udo Kier and Mathieu Amalric) or as Golden Era gods and goddesses (Maria de Medeiros as a woman "born to be a widow," Roy Dupuis as...
After its world premiere at the Sundance Film Festival, Guy Maddin and co-director Evan Johnson's The Forbidden Room had its international debut in the Forum section of the Berlin International Film Festival. Together, they've made made a feverish collage of false extracts from old movies, a half forgotten, groggily recalled, dreamily regained experience of cinematic potential.
Originating from the Seances project, these self-described fragments are more like truncated (or over-extended) skits riffing from the conventions, memories and suggestions of Maddin's most beloved of periods in film history, the end of silence and beginning of sound: the queasy, delirious, awkward, voluptuous late 1920s and early 30s. The skits, some starring recognizable actors as grotesques (Udo Kier and Mathieu Amalric) or as Golden Era gods and goddesses (Maria de Medeiros as a woman "born to be a widow," Roy Dupuis as...
- 2/24/2015
- by Daniel Kasman
- MUBI
Dear Adam,
I absolutely find that my ideas develop as I'm writing rather than before. In fact, this is what inspired me to start writing about film over ten years ago: in the moment, spoken out loud, I still haven't fully processed my thoughts and feelings. Or, perhaps more precisely, I can't find the words until I'm writing. What I fear—in fact I know—is that despite being able to write better than I speak about film, I think even the writings, the words, don't quite capture the thought or sensation. It stands for something close, but not quite.
With that in mind, there's no better film to begin the festival with, no more evocative way to inaugurate 11 days of movies than with The Forbidden Room. Canadian director Guy Maddin and co-director Evan Johnson have made a feverish collage of false extracts from old movies, a half forgotten, groggily recalled,...
I absolutely find that my ideas develop as I'm writing rather than before. In fact, this is what inspired me to start writing about film over ten years ago: in the moment, spoken out loud, I still haven't fully processed my thoughts and feelings. Or, perhaps more precisely, I can't find the words until I'm writing. What I fear—in fact I know—is that despite being able to write better than I speak about film, I think even the writings, the words, don't quite capture the thought or sensation. It stands for something close, but not quite.
With that in mind, there's no better film to begin the festival with, no more evocative way to inaugurate 11 days of movies than with The Forbidden Room. Canadian director Guy Maddin and co-director Evan Johnson have made a feverish collage of false extracts from old movies, a half forgotten, groggily recalled,...
- 2/7/2015
- by Daniel Kasman
- MUBI
Moment to moment, the relentless cinephilic delirium of The Forbidden Room is every bit as intense as Guy Maddin's 6-minute short The Heart of the World (2000), but the miracle of the new two-hour-plus feature co-directed with Evan Johnson is that it's persistently enthralling, often quite funny and never exhausting. The Forbidden Room seems to be the culmination or perhaps merely the 2015 version of the project Maddin began with Hauntings (2010), a collection of reimagined excerpts from films never realized by the likes of F.W. Murnau, Fritz Lang and Kenji Mizoguchi, and Seances (2012), further fragmentary homages to works made in those volatile years as the silents gave way to sound. » - David Hudson...
- 1/28/2015
- Fandor: Keyframe
Moment to moment, the relentless cinephilic delirium of The Forbidden Room is every bit as intense as Guy Maddin's 6-minute short The Heart of the World (2000), but the miracle of the new two-hour-plus feature co-directed with Evan Johnson is that it's persistently enthralling, often quite funny and never exhausting. The Forbidden Room seems to be the culmination or perhaps merely the 2015 version of the project Maddin began with Hauntings (2010), a collection of reimagined excerpts from films never realized by the likes of F.W. Murnau, Fritz Lang and Kenji Mizoguchi, and Seances (2012), further fragmentary homages to works made in those volatile years as the silents gave way to sound. » - David Hudson...
- 1/28/2015
- Keyframe
Canadian director Guy Maddin has a new film coming. Or is films? The director has been working on a multimedia project known as Seances, or Spiritismes in some circles, which sees his cast and crew holding a seance to invite the spirit of a lost silent film to possess them so they can recreate it. These recreated films are to then be presented as interactive web content, video installations, and subsequently screened as a theatrical cut. While much of the cast and crew appear to be the same in The Forbidden Room, it is not entirely clear if this is Seances retitled, the theatrical cut with a new title, or merely an unexpected offshoot of that whole project. What is evident is that The Forbidden...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 12/4/2014
- Screen Anarchy
With dramatic fare such as August: Osage County, Mandela: Long Walk to Freedom and Dallas Buyers Club, 2013′s Toronto Int. Film Festival once again will be shelving a wide-ranging quotient for Oscar-buzz titles. In the 70 plus title announcement made this morning, Tiff is chock-full in the type of titles that will essentially be putting the distribution companies in the dual modes of: a. buying up available items to stock up their 2014 slate, and b., launching their campaigns for the award season and giving their fall calenders an extra push.
Some might want to call this a Cumberbatchian type edition (Benedict Cumberbatch appears in August: Osage County, Tiff opener The Fifth Estate, and the Venice-bound 12 Years a Slave) but with only David Cronenberg (currently in production with Maps to the Stars) and Guy Maddin (currently in creative overdrive with Seances a.k.a Spiritismes), 2013 will be looked back upon as a...
Some might want to call this a Cumberbatchian type edition (Benedict Cumberbatch appears in August: Osage County, Tiff opener The Fifth Estate, and the Venice-bound 12 Years a Slave) but with only David Cronenberg (currently in production with Maps to the Stars) and Guy Maddin (currently in creative overdrive with Seances a.k.a Spiritismes), 2013 will be looked back upon as a...
- 7/23/2013
- by Eric Lavallee
- IONCINEMA.com
Keyhole's master locksmith Guy Maddin's Séances or Spiritismes project, the incomparable resurrection of 100 unfinished, abandoned, and lost silent films began on February 22, 2012 at the Centre Georges Pompidou in Paris. He directed 18 short films in front of a live audience with an alluring cast that included Charlotte Rampling, Geraldine Chaplin, Maria de Medeiros, Mathieu Demy, Udo Kier, and Mathieu Amalric. Luce Vigo, daughter of Jean Vigo acted in Lines Of The Hand, the spirited channeling of her father's unrealised movie. The filming of the Parisian leg concluded 20 days later on March 12.
Guy Maddin's Séances at the Centre Georges Pompidou in Paris.
Another 12 short films in 13 days are in the process of coming to life at the Phi Centre, Montréal right now till July 20. The installation will eventually be transformed also into a film and an interactive work. The public is invited to attend these séances of "cinematic spiritualism".
In response to.
Guy Maddin's Séances at the Centre Georges Pompidou in Paris.
Another 12 short films in 13 days are in the process of coming to life at the Phi Centre, Montréal right now till July 20. The installation will eventually be transformed also into a film and an interactive work. The public is invited to attend these séances of "cinematic spiritualism".
In response to.
- 7/12/2013
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Spiritismes
Director: Guy Maddin
Writer(s): Evan Johnson, Robert Kotyk
Producer(s): Phyllis Laing
U.S. Distributor: Rights Available
Cast: Charlotte Rampling, Geraldine Chaplin, Maria de Medeiros, Mathieu Amalric, Udo Kier, Amira Casar, Adèle Haenel, Ariane Labed, Elina Löwensohn, Mathieu Demy, Jean-François Stévenin, André Wilms, Grégory Gadebois, Jacques Nolot
High set of profile actors join one crazy project which is best described by the avant-gardist himself – “Over eighty percent of silent films are lost. I’ve always considered a lost film as a narrative with no known final resting place — doomed to wander the landscape of film history, sad, miserable and unable to project itself to the people who might love it.”
Gist: Every day, Guy Maddin invites visitors of the Centre Pompidou to witness the making of a new film inspired by a long-lost movie. Summoning these wandering spirits of cinema in theatrical “séances”, Maddin and his actors inhabit their ghostly scenarios.
Director: Guy Maddin
Writer(s): Evan Johnson, Robert Kotyk
Producer(s): Phyllis Laing
U.S. Distributor: Rights Available
Cast: Charlotte Rampling, Geraldine Chaplin, Maria de Medeiros, Mathieu Amalric, Udo Kier, Amira Casar, Adèle Haenel, Ariane Labed, Elina Löwensohn, Mathieu Demy, Jean-François Stévenin, André Wilms, Grégory Gadebois, Jacques Nolot
High set of profile actors join one crazy project which is best described by the avant-gardist himself – “Over eighty percent of silent films are lost. I’ve always considered a lost film as a narrative with no known final resting place — doomed to wander the landscape of film history, sad, miserable and unable to project itself to the people who might love it.”
Gist: Every day, Guy Maddin invites visitors of the Centre Pompidou to witness the making of a new film inspired by a long-lost movie. Summoning these wandering spirits of cinema in theatrical “séances”, Maddin and his actors inhabit their ghostly scenarios.
- 1/14/2013
- by Eric Lavallee
- IONCINEMA.com
The avant-garde director's new film is a woozy homage to Homer and gangster movies. He explains his vision
Even with a new film to sell, Guy Maddin is not your standard-issue eager-to-please director. "So many people are baffled," he says, with well-practised irony. "The movie will be crystal-clear upon your third viewing." This is Keyhole, Maddin's ninth full-length film since 1988; and against all the odds it's secured a theatrical release in the UK. Most of Maddin's work simply doesn't get to Britain, so resolutely has he followed his own path.
If you know him at all, it is probably for his ballet film Dracula: Pages from a Virgin Diary, or just possibly My Winnipeg, his heartfelt docu-essay tribute to his Canadian hometown. More energetic cineastes may remember 2003's The Saddest Music in the World, Maddin's most determined shot at the mainstream, an elaborate parody musical starring Isabella Rossellini. The...
Even with a new film to sell, Guy Maddin is not your standard-issue eager-to-please director. "So many people are baffled," he says, with well-practised irony. "The movie will be crystal-clear upon your third viewing." This is Keyhole, Maddin's ninth full-length film since 1988; and against all the odds it's secured a theatrical release in the UK. Most of Maddin's work simply doesn't get to Britain, so resolutely has he followed his own path.
If you know him at all, it is probably for his ballet film Dracula: Pages from a Virgin Diary, or just possibly My Winnipeg, his heartfelt docu-essay tribute to his Canadian hometown. More energetic cineastes may remember 2003's The Saddest Music in the World, Maddin's most determined shot at the mainstream, an elaborate parody musical starring Isabella Rossellini. The...
- 8/30/2012
- by Andrew Pulver
- The Guardian - Film News
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