Exclusive: Gravitas Ventures has acquired North American rights to The King’s Daughter, a family adventure film starring Pierce Brosnan, William Hurt, Kaya Scodelario, Benjamin Walker, Rachel Griffiths, Pablo Schreiber, and Bingbing Fan, which is narrated by Oscar winner Julie Andrews, setting it for a theatrically exclusive release at upwards of 1000 locations across the U.S. and Canada on January 21, 2022.
Sean McNamara’s film, shot at the Palace of Versailles, is based on Vonda N. McIntyre’s 1997 novel The Moon and the Sun. It centers on King Louis Xiv (Brosnan), whose quest for immortality leads him to capture a mermaid’s (Fan) life force, seeing his immovable will challenged when his long-hidden illegitimate daughter (Scodelario) forms a bond with the magical creature.
Barry Berman and James Schamus handled the screenplay adaptation. Veteran family film producers McNamara and David Brookwell produced for Brookwell McNamara Entertainment, alongside an international group of producers from Australia to America to France.
Sean McNamara’s film, shot at the Palace of Versailles, is based on Vonda N. McIntyre’s 1997 novel The Moon and the Sun. It centers on King Louis Xiv (Brosnan), whose quest for immortality leads him to capture a mermaid’s (Fan) life force, seeing his immovable will challenged when his long-hidden illegitimate daughter (Scodelario) forms a bond with the magical creature.
Barry Berman and James Schamus handled the screenplay adaptation. Veteran family film producers McNamara and David Brookwell produced for Brookwell McNamara Entertainment, alongside an international group of producers from Australia to America to France.
- 10/20/2021
- by Matt Grobar
- Deadline Film + TV
One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. Albert Serra's The Death of Louis Xiv, starring Jean-Pierre Léaud, is showing on Mubi in the US starting May 28, 2021 in the series Performers We Love. Given the size and variety of Jean-Pierre Léaud’s filmography, there must be other memorable death scenes of his apart from those in Jean-Luc Godard’s Made in U.S.A. (1966) and Albert Serra’s La mort de Louis Xiv (2016), half a century apart. My reason for settling on these two is that they demonstrate his prodigious range. In the first—a very bizarre piece of anamorphic Pop Art self-described as “a political film, meaning Walt Disney plus blood”—he plays “Donald Siegel,” the abused sidekick of gangster “Richard Widmark” (Laszlo Szabo), comically sporting a button that declares “Kiss me I’m Italian.” He’s...
- 5/26/2021
- MUBI
James Schamus, Barry Berman adapted screenplay from fantasy novel.
Julie Andrews has joined The King’s Daughter as narrator as Arclight Films introduces the Louis Xiv fantasy drama to buyers heading into the virtual Cannes market later this month.
Pierce Brosnan stars as the Sun King alongside Kaya Scodelario from Skins and the Pirates Of The Caribbean franchise.
The film, previously known as The Moon And The Sun, imagines a quest for immortality by the megalomaniacal king – whose reign spanned the 17th and 18th centuries – as he captures and steals a mermaid’s life force.
Matters are further complicated when the...
Julie Andrews has joined The King’s Daughter as narrator as Arclight Films introduces the Louis Xiv fantasy drama to buyers heading into the virtual Cannes market later this month.
Pierce Brosnan stars as the Sun King alongside Kaya Scodelario from Skins and the Pirates Of The Caribbean franchise.
The film, previously known as The Moon And The Sun, imagines a quest for immortality by the megalomaniacal king – whose reign spanned the 17th and 18th centuries – as he captures and steals a mermaid’s life force.
Matters are further complicated when the...
- 6/1/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
“To have somebody make a movie about you must be even for Elton, quite weird. It’s like you’re putting your childhood on sale, all your misdemeanors, your success, and all of that. Given all of that, he was incredible, and a real generous spirit. I showed him the [costume] concepts, and he gave his seal of approval, which was the most important thing for me, because there’s no point in doing a film about Elton John, if Elton John doesn’t like what he’s going to wear. He has been very particular, all throughout his life, about what he wears, so to have his validation was and is very important. So, all in all, I think it was a success, from that point of view.” — Julian Day
First working with Dexter Fletcher on Freddie Mercury biopic Bohemian Rhapsody, costume designer Julian Day subsequently reteamed with the director on Rocketman.
First working with Dexter Fletcher on Freddie Mercury biopic Bohemian Rhapsody, costume designer Julian Day subsequently reteamed with the director on Rocketman.
- 12/2/2019
- by Matt Grobar
- Deadline Film + TV
Albert Serra © 2019 - Idéale Audience - Rosa Filmes - Andergraun Films © Román YñánShould you choose to describe Albert Serra's oeuvre by using a long series of pronouns, you might find yourself writing down a string of words that start with a precise prefix: demystification, decadence, decay, depravity, debauchery, and desire. Serra is an auteur par Sarris: with a tight conceptual apparatus and cross-platform interests, recurrent motifs and specific work methods, the Catalan director is known for his innovative, independent slow-burning pieces set in pre-French Revolution Europe, his free narratives spun around the continent's aristocracy in a moment of political and bodily entropy, from Casanova to Louis Xiv.His newest feature, Liberté, a no-holds-barred depiction of sexual debauchery in a German forest over the course of a night in 1774, made waves at this year's Cannes Film Festival, where it premiered in the Un Certain Regard section and won the Special Jury Prize.
- 7/2/2019
- MUBI
The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.LibertéDear Leo,The festival may almost be over, but that doesn’t mean the chance for controversy is gone. Abdellatif Kechiche’s new film, Mektoub, My Love: Intermezzo, premiered at the end of Cannes because it literally was finished this very month, but one might also suppose the festival preferred this presentation, enlivening the rapidly depopulating Croisette with scandal. I haven’t seen it yet, and in fact only caught up with the first Mektoub (subtitled Canto Uno) two weeks ago. Despite its 2017 premiere in competition at the Venice, it was never shown in North American film festivals and still has not been distributed. There is good reason for this shunning, even though the first film is Kechiche’s follow-up to the Palme d’Or-winning Blue Is the Warmest Color: it was brazenly and unredeemably misogynistic,...
- 5/29/2019
- MUBI
Veteran French helmer Bertrand Tavernier (“The French Minister”) is curating a 15-film retrospective of films by Henri Decoin (1890-1969), a larger-than-life character who before directing his first feature, at the age of 43, was an Olympic swimmer, Wwi pilot, sports journalist and novelist.
Decoin is one of the three directors – alongside Jean Grémillon and Max Ophuls – featured in the first episode of Tavernier’s “My Journeys Through French Cinema,” a follow-up project to his documentary “My Journey Through French Cinema”.
Tavernier believes that Decoin left a decisive mark on Gallic cinema due to the fluidity of his directing style, inspired in part by his sojourn in Hollywood in 1938, his innovative exploration of genres such as crime, espionage thrillers, historical sagas and psychological dramas, his remarkable adaptations of novels by George Simenon and his notable collaboration with actors such as Jean Gabin, Louis Jouvet and his second wife, Danielle Darrieux.
The retrospective...
Decoin is one of the three directors – alongside Jean Grémillon and Max Ophuls – featured in the first episode of Tavernier’s “My Journeys Through French Cinema,” a follow-up project to his documentary “My Journey Through French Cinema”.
Tavernier believes that Decoin left a decisive mark on Gallic cinema due to the fluidity of his directing style, inspired in part by his sojourn in Hollywood in 1938, his innovative exploration of genres such as crime, espionage thrillers, historical sagas and psychological dramas, his remarkable adaptations of novels by George Simenon and his notable collaboration with actors such as Jean Gabin, Louis Jouvet and his second wife, Danielle Darrieux.
The retrospective...
- 10/18/2018
- by Martin Dale
- Variety Film + TV
If ever there was an appropriate time to exclaim “Voila!” it’s now. Versailles returns for its third and final season on Saturday (Ovation, 10/9c) with a special reveal: Louis Xiv’s series-long dream of completing the Hall of Mirrors has finally been realized.
TVLine has an exclusive first look at the premiere, in which the king (played by George Bladgen) unveils his masterpiece, which he calls a “beacon to the world reflecting the power and glory of God himself.” (You know, because that’s not an overstatement.)
Per a synopsis from Ovation, Versailles‘ final season premiere — appropriately titled “Smoke and Mirrors...
TVLine has an exclusive first look at the premiere, in which the king (played by George Bladgen) unveils his masterpiece, which he calls a “beacon to the world reflecting the power and glory of God himself.” (You know, because that’s not an overstatement.)
Per a synopsis from Ovation, Versailles‘ final season premiere — appropriately titled “Smoke and Mirrors...
- 10/2/2018
- TVLine.com
Head of fiction programming at Canal Plus since 2002, Fabrice de la Patelliere has been a driving force behind the French pay TV’s channel’s push into ambitious French and English-language drama series, notably “Versailles,” whose third season world premiered at Canneseries on Wednesday, opening the new TV festival.
The French TV maven spoke to Variety about the making of “Versailles” and how the show fits into the editorial line of Canal Plus’ Creation Originale label, He also discussed upcoming projects and new challenges sparked by the high-end drama series boom.
What were the challenges in creating this third season of “Versailles” and why did you decide to make it the final season?
From the start, “Versailles'” producer Claude Chelli had spoken to us about making three seasons. The series was meant to chronicle the coming of age and rise to power of Louis Xiv and show how he...
The French TV maven spoke to Variety about the making of “Versailles” and how the show fits into the editorial line of Canal Plus’ Creation Originale label, He also discussed upcoming projects and new challenges sparked by the high-end drama series boom.
What were the challenges in creating this third season of “Versailles” and why did you decide to make it the final season?
From the start, “Versailles'” producer Claude Chelli had spoken to us about making three seasons. The series was meant to chronicle the coming of age and rise to power of Louis Xiv and show how he...
- 4/7/2018
- by Elsa Keslassy
- Variety Film + TV
It’s the beginning of the end. Over its first two seasons,”Versailles” has built up a loyal fanbase for its portrait of the rise, achievement and now legacy of Louis Xiv, Versailles Sun King, who turned France into the most powerful nation-state in Europe.
Canneseries, France’s new TV festival, opened April 4 with the first two episodes of the third and final 10-hour season. Very few of “Versailles’” viewers will have made it to the Riviera. So, instead of a blow-by-blow account of Eps. 1 and 2, here’s a drill down on the last season’s set-up and opening events as Louis Xiv, having got what he wanted, predictably want more.
Spoiler alert: Do not read until you’ve watched Season 3, episode one and two of ‘Versailles’
French pay TV operator Canal Plus most ambitious Création Originale to date – in budget, its English-language, set of the real-life Chateau, 30 our portrait...
Canneseries, France’s new TV festival, opened April 4 with the first two episodes of the third and final 10-hour season. Very few of “Versailles’” viewers will have made it to the Riviera. So, instead of a blow-by-blow account of Eps. 1 and 2, here’s a drill down on the last season’s set-up and opening events as Louis Xiv, having got what he wanted, predictably want more.
Spoiler alert: Do not read until you’ve watched Season 3, episode one and two of ‘Versailles’
French pay TV operator Canal Plus most ambitious Création Originale to date – in budget, its English-language, set of the real-life Chateau, 30 our portrait...
- 4/5/2018
- by John Hopewell
- Variety Film + TV
If anybody wants to explain the extensive, intricate and French governmental aid system for cinema and TV, they could do worse than watch “Versailles,” an English-language Canal Plus Creation Originale and one of the French pay TV operators’s most ambitious series ever, whose third and final season opens Canneseries April 4, before premiering on Canal Plus in France on April 23.
Played by George Blagden (“Les Miserables,” “Vikings”), Louis Xiv, the Sun King and still Europe’s longest-reigning monarch, built Versailles, created fashion, forged the identity of France as a byword for culture. He also created the idea, extended by Napoleon, of a central French state – centralized in his person – which oversaw everything and everyone, to the benefit and glory of France. Such was his extraordinary legacy, that both ideas – culture, the state – survive until this day.
Over 30 hours, in a career milestone, Blagden portrays the complexities of a man who...
Played by George Blagden (“Les Miserables,” “Vikings”), Louis Xiv, the Sun King and still Europe’s longest-reigning monarch, built Versailles, created fashion, forged the identity of France as a byword for culture. He also created the idea, extended by Napoleon, of a central French state – centralized in his person – which oversaw everything and everyone, to the benefit and glory of France. Such was his extraordinary legacy, that both ideas – culture, the state – survive until this day.
Over 30 hours, in a career milestone, Blagden portrays the complexities of a man who...
- 4/4/2018
- by John Hopewell
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGWe're very much in love with Zama, Lucrecia Martel's long-anticipated return to filmmaking. The new trailer calls us back to our encounter of the film at Toronto last year and our conversation with the director.We all know that Rainer Werner Fassbinder made a lot—a whole lot—of films in his all too brief 15 years of activity, but it's truly remarkable how new (old) work of his keeps appearing. First there was the revelation of World on a Wire (1973) and now another made-for-tv epic has been restored and is being re-released, Eight Hours Are Not a Day (1972-1973). We wonder what other future delights and provocations Rwf has in store for us!Recommended READINGDoll & EmAt The Guardian, Lili Loofbourow takes a look at how stories about women are perceived and received differently than those about men.
- 3/15/2018
- MUBI
Four years ago, Oscar-nominated “The Theory of Everything” screenwriter Anthony McCarten sat down for a pint with an old chum in a country pub. What next? his friend asked. McCarten threw out a few ideas — no response. What else do you have?
Well, there was one that was really intimidating, McCarten said, about Winston Churchill. His friend replied, “Do that one. We need a portrait of leadership.”
That was before Brexit, before Trump, so it seems incredibly prescient. But really, when have we not needed leadership? “We’re living in extraordinary times, all the time,” McCarten said. “The issues that assail us are perennial. They haven’t changed since the Greeks picked up a pen.”
A hit at the fall festivals (Metascore: 72), “Darkest Hour” (Focus Features, November 22) is poised to deliver Gary Oldman a Best Actor Oscar as Winston Churchill. But as a World War II talky companion piece to silent action epic “Dunkirk,...
Well, there was one that was really intimidating, McCarten said, about Winston Churchill. His friend replied, “Do that one. We need a portrait of leadership.”
That was before Brexit, before Trump, so it seems incredibly prescient. But really, when have we not needed leadership? “We’re living in extraordinary times, all the time,” McCarten said. “The issues that assail us are perennial. They haven’t changed since the Greeks picked up a pen.”
A hit at the fall festivals (Metascore: 72), “Darkest Hour” (Focus Features, November 22) is poised to deliver Gary Oldman a Best Actor Oscar as Winston Churchill. But as a World War II talky companion piece to silent action epic “Dunkirk,...
- 11/20/2017
- by Anne Thompson
- Thompson on Hollywood
Four years ago, Oscar-nominated “The Theory of Everything” screenwriter Anthony McCarten sat down for a pint with an old chum in a country pub. What next? his friend asked. McCarten threw out a few ideas — no response. What else do you have?
Well, there was one that was really intimidating, McCarten said, about Winston Churchill. His friend replied, “Do that one. We need a portrait of leadership.”
That was before Brexit, before Trump, so it seems incredibly prescient. But really, when have we not needed leadership? “We’re living in extraordinary times, all the time,” McCarten said. “The issues that assail us are perennial. They haven’t changed since the Greeks picked up a pen.”
A hit at the fall festivals (Metascore: 72), “Darkest Hour” (Focus Features, November 22) is poised to deliver Gary Oldman a Best Actor Oscar as Winston Churchill. But as a World War II talky companion piece to silent action epic “Dunkirk,...
Well, there was one that was really intimidating, McCarten said, about Winston Churchill. His friend replied, “Do that one. We need a portrait of leadership.”
That was before Brexit, before Trump, so it seems incredibly prescient. But really, when have we not needed leadership? “We’re living in extraordinary times, all the time,” McCarten said. “The issues that assail us are perennial. They haven’t changed since the Greeks picked up a pen.”
A hit at the fall festivals (Metascore: 72), “Darkest Hour” (Focus Features, November 22) is poised to deliver Gary Oldman a Best Actor Oscar as Winston Churchill. But as a World War II talky companion piece to silent action epic “Dunkirk,...
- 11/20/2017
- by Anne Thompson
- Indiewire
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.
Carol (Todd Haynes)
From the first note of Carter Burwell‘s magnificent score and opening shot of Edward Lachman’s ravishing cinematography — introducing a Brief Encounter-esque opening bookend — Todd Haynes transports one to an intoxicating world of first love and its requisite heartbreak. Carol excels at being many things: a romantic drama; a coming-of-age story; an exploration of family dynamics and social constructs of the time; an acting...
Carol (Todd Haynes)
From the first note of Carter Burwell‘s magnificent score and opening shot of Edward Lachman’s ravishing cinematography — introducing a Brief Encounter-esque opening bookend — Todd Haynes transports one to an intoxicating world of first love and its requisite heartbreak. Carol excels at being many things: a romantic drama; a coming-of-age story; an exploration of family dynamics and social constructs of the time; an acting...
- 9/22/2017
- by Jordan Raup
- The Film Stage
Jean-Pierre Léaud stars as the dying monarch in a tragedy tinged with black humour
The French actor Jean-Pierre Léaud is best known for his first major role in François Truffaut’s The 400 Blows, in which the closing freeze-frame of his then 14-year-old face is a lingering image of his star persona. When I think of Léaud, I think of him as Alexandre in Jean Eustache’s 1973 film The Mother and the Whore; louche, handsome, just shy of his 30s. In Catalan art-house director Albert Serra’s dramatisation of the pampered monarch’s slow, squeezed death, the face of the French New Wave is a far cry from Alexandre. Here, his rotting body is draped in lace and silk, velvet and ruffles; his pale, papery skin loaded with powdery blush; a wig with the consistency of candyfloss his only visible crown.
Based on Memoirs of the Duc de Saint-Simon and...
The French actor Jean-Pierre Léaud is best known for his first major role in François Truffaut’s The 400 Blows, in which the closing freeze-frame of his then 14-year-old face is a lingering image of his star persona. When I think of Léaud, I think of him as Alexandre in Jean Eustache’s 1973 film The Mother and the Whore; louche, handsome, just shy of his 30s. In Catalan art-house director Albert Serra’s dramatisation of the pampered monarch’s slow, squeezed death, the face of the French New Wave is a far cry from Alexandre. Here, his rotting body is draped in lace and silk, velvet and ruffles; his pale, papery skin loaded with powdery blush; a wig with the consistency of candyfloss his only visible crown.
Based on Memoirs of the Duc de Saint-Simon and...
- 7/16/2017
- by Simran Hans
- The Guardian - Film News
Michel Hazanavicius and Louis Garrel attend with opening night screening of Redoubtable.
The 34th edition of the Jerusalem Film Festival kicked-off on Thursday night with an open-air screening of Michel Hazanavicius’s Jean-Luc Godard comedy Redoubtable and a stripped down opening ceremony aimed at keeping the spotlight on cinema.
Jff’s opening nights in the Sultan’s Pool amphitheatre in the shadow of the Old City walls have been politically-charged in recent years, thanks mainly to the presence of Israel’s controversial Culture Minister Miri Regev.
The former Israeli Defence Force spokeswoman’s views on how cultural funding should be redistributed away from the traditional cultural hubs of cities like Tel Aviv and not be meted out to works criticising the country have made her deeply unpopular within the country’s left-leaning cinema world.
Jeers for Regev
There were no politicians on stage on Thursday evening apart from the city’s mayor Nir Barkat, who handed...
The 34th edition of the Jerusalem Film Festival kicked-off on Thursday night with an open-air screening of Michel Hazanavicius’s Jean-Luc Godard comedy Redoubtable and a stripped down opening ceremony aimed at keeping the spotlight on cinema.
Jff’s opening nights in the Sultan’s Pool amphitheatre in the shadow of the Old City walls have been politically-charged in recent years, thanks mainly to the presence of Israel’s controversial Culture Minister Miri Regev.
The former Israeli Defence Force spokeswoman’s views on how cultural funding should be redistributed away from the traditional cultural hubs of cities like Tel Aviv and not be meted out to works criticising the country have made her deeply unpopular within the country’s left-leaning cinema world.
Jeers for Regev
There were no politicians on stage on Thursday evening apart from the city’s mayor Nir Barkat, who handed...
- 7/14/2017
- ScreenDaily
Jean-Pierre Léaud gives the performance of his career in this powerful, intimate and moving account of the French king’s final days
This quietly amazing film is conceived in terms of pure minimalist intimacy. Some might feel that it should be a stage play, and there is something Beckettian in it, a Happy Days for one lead character. But that would be to misread its eerie, closeup effects on faces. The candlelit sombreness makes it painterly, or more like a tableau vivant.
In what seems like real time, the film takes its audience through a historical event, the death of Louis Xiv, placing us by the royal deathbed in the days and hours before he died in 1715 of a blood clot. Frowningly solicitous courtiers come and go. Murmuring physicians suppress their obvious terror of being blamed. Ladies-in-waiting simperingly attempt to keep His Majesty’s spirits up and greet his pathetic...
This quietly amazing film is conceived in terms of pure minimalist intimacy. Some might feel that it should be a stage play, and there is something Beckettian in it, a Happy Days for one lead character. But that would be to misread its eerie, closeup effects on faces. The candlelit sombreness makes it painterly, or more like a tableau vivant.
In what seems like real time, the film takes its audience through a historical event, the death of Louis Xiv, placing us by the royal deathbed in the days and hours before he died in 1715 of a blood clot. Frowningly solicitous courtiers come and go. Murmuring physicians suppress their obvious terror of being blamed. Ladies-in-waiting simperingly attempt to keep His Majesty’s spirits up and greet his pathetic...
- 7/12/2017
- by Peter Bradshaw
- The Guardian - Film News
Author: Guest
Spanish director Albert Serra’s telling of the final weeks of Louis Xiv is a remarkable insight into the longest reigning monarch in France’s history. Adapted from contemporary memoirs, Jean-Pierre Léaud, (who was thrust into the French cinema scene, courtesy of his work with François Truffaut, after appearing in Truffaut’s first feature,The 400 Blows), lends his cult status to Serra’s re-telling and takes on the ambitious role of the waning Sun King.
As the King slowly succumbs to gangrene, his valets, doctors and members of the court surround him as he continues to fulfil duties in order to keep up the pretence to the public that he is in good health. His condition worsens over the coming days until he falls into a coma and dies.
The film feels like it spans a wealth of dead time, and at first glance could be perceived...
Spanish director Albert Serra’s telling of the final weeks of Louis Xiv is a remarkable insight into the longest reigning monarch in France’s history. Adapted from contemporary memoirs, Jean-Pierre Léaud, (who was thrust into the French cinema scene, courtesy of his work with François Truffaut, after appearing in Truffaut’s first feature,The 400 Blows), lends his cult status to Serra’s re-telling and takes on the ambitious role of the waning Sun King.
As the King slowly succumbs to gangrene, his valets, doctors and members of the court surround him as he continues to fulfil duties in order to keep up the pretence to the public that he is in good health. His condition worsens over the coming days until he falls into a coma and dies.
The film feels like it spans a wealth of dead time, and at first glance could be perceived...
- 7/12/2017
- by Guest
- HeyUGuys.co.uk
2017 has now crossed the halfway mark, so it’s time to take a look back at the first six months and round up our favorite titles thus far. While the end of this year will bring personal favorites from all of our writers, think of the below 28 entries as a comprehensive rundown of what should be seen before heading into a promising fall line-up.
Do note that this feature is based solely on U.S. theatrical releases from 2017, with many currently widely available on streaming platforms or theatrically. Check them out below, as organized alphabetically, followed by honorable mentions and films to keep on your radar for the remaining summer months. One can also see the list on Letterboxd.
Abacus: Small Enough to Jail (Steve James)
Steve James’ filmography has long been about finding entry into larger conversations through intimate portraits. The director’s landmark debut, Hoop Dreams, and latter-day...
Do note that this feature is based solely on U.S. theatrical releases from 2017, with many currently widely available on streaming platforms or theatrically. Check them out below, as organized alphabetically, followed by honorable mentions and films to keep on your radar for the remaining summer months. One can also see the list on Letterboxd.
Abacus: Small Enough to Jail (Steve James)
Steve James’ filmography has long been about finding entry into larger conversations through intimate portraits. The director’s landmark debut, Hoop Dreams, and latter-day...
- 7/3/2017
- by The Film Stage
- The Film Stage
I was standing outside the hotel room of a movie icon, unsure quite what I would find on the find on the other side of the door. It was the final day of the 2016 Cannes Film Festival, and after a week of frantic coordinating with various schedulers, I’d finally managed to land an interview with Jean-Pierre Léaud. He had just played the lead role in “The Death of Louis Xiv,” and still endured the impact of enacting his death for the cameras.
Léaud became one of international cinema’s most famous faces at 14, when he starred in Francois Truffaut’s seminal French New Wave debut “The 400 Blows.” As the adolescent Antoine Doinel, who spends much of the movie acting out at school and at home while witnessing the dissolution of his parents’ marriage, Léaud quickly became the defining face of angst-riddled youth. The movie’s memorable closing freeze-frame...
Léaud became one of international cinema’s most famous faces at 14, when he starred in Francois Truffaut’s seminal French New Wave debut “The 400 Blows.” As the adolescent Antoine Doinel, who spends much of the movie acting out at school and at home while witnessing the dissolution of his parents’ marriage, Léaud quickly became the defining face of angst-riddled youth. The movie’s memorable closing freeze-frame...
- 3/31/2017
- by Eric Kohn
- Indiewire
The 400 Blows. Courtesy of ShutterstockFor many directors, casting decisions are a crucial part of the writing process. They set the parameters in which the character can develop itself. Fundamentally, a good casting decision can make a character transcend its own scripted ambitions into wonderful, unexpected territories. But bad casting, as we know, can cripple not just a character’s potential but the entire film. It’s hard to talk about casting choices as creative decisions since they are so ingrained within certain creative impulses—the decision of choosing a particular actor over another can be based on mere gut feeling, a hunch, or an intellectual response. But of course, it can also depend (as it often does in large budget films) on an actor’s status, reputation or his or her monetary value. As we get to know actors, we see them typecast or cast against type but sometimes...
- 3/31/2017
- MUBI
Starting this week, the Film Society of Lincoln Center hosts a retrospective of the 57-year career of one of the most iconic figures of modern cinema: Jean-Pierre Léaud. The child who grew up and grew old before our eyes, Léaud will forever be associated with one film above all, François Truffaut’s The 400 Blows, made when he was only 14, and its character, Antoine Doinel, who he, in many ways, created. In a letter to his friend Helen Scott in 1962 Truffaut wrote, “I would prefer a film to change its meaning along the way rather than have an actor ill at ease. Jean-Pierre wasn’t the character I had intended for The 400 Blows.” When the Film Society first fêted Léaud, in 1994, in the series “Growing Up with Jean-Pierre Léaud: Nouvelle Vague’s Wild Child” (programmed by my future wife no less), the actor had only just turned 50. Léaud...
- 3/31/2017
- MUBI
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 Society of Lincoln Center
The single greatest filmography of any living actor is celebrated in “Jean-Pierre Léaud, from Antoine Doinel to Louis Xiv,” including an all-day Doinel marathon on Sunday.
Metrograph
More seminal sci-fi in “The Singularity,” some of Buñuel’s best films, the Donnie Darko restoration (read our interview with Richard Kelly here), rock music,...
Film Society of Lincoln Center
The single greatest filmography of any living actor is celebrated in “Jean-Pierre Léaud, from Antoine Doinel to Louis Xiv,” including an all-day Doinel marathon on Sunday.
Metrograph
More seminal sci-fi in “The Singularity,” some of Buñuel’s best films, the Donnie Darko restoration (read our interview with Richard Kelly here), rock music,...
- 3/31/2017
- by Nick Newman
- The Film Stage
by Bill Curran
Laying in regal and rotting repose, the glorious tendrils of a white M-shaped wig framing his ashen face, King Louis Xiv of France, in the year 1717, spends his final days dying atop luxurious satins and attended to by hand-wringing bureaucrats and a largely silent wife in Albert Serra’s (you guessed it) The Death of Louis Xiv.
As far as “death trip” movies go, Louis Xiv is a quintessential ordeal. Like moths around the flame, the films in this still-thriving trend announce the demise (or prolonged distress) of their subjects up front, with imminence and duration the focus, often with a titular clue to the narrative framework: The Passion of the Christ, Last Days, 12 Years a Slave, The Death of Mr. Lazarescu, 4 Months, 3 Weeks, and 2 Days, 127 Hours, Day Night Day Night, Hunger, Two Days, One Night, and Son of Saul, to name but a few...
Laying in regal and rotting repose, the glorious tendrils of a white M-shaped wig framing his ashen face, King Louis Xiv of France, in the year 1717, spends his final days dying atop luxurious satins and attended to by hand-wringing bureaucrats and a largely silent wife in Albert Serra’s (you guessed it) The Death of Louis Xiv.
As far as “death trip” movies go, Louis Xiv is a quintessential ordeal. Like moths around the flame, the films in this still-thriving trend announce the demise (or prolonged distress) of their subjects up front, with imminence and duration the focus, often with a titular clue to the narrative framework: The Passion of the Christ, Last Days, 12 Years a Slave, The Death of Mr. Lazarescu, 4 Months, 3 Weeks, and 2 Days, 127 Hours, Day Night Day Night, Hunger, Two Days, One Night, and Son of Saul, to name but a few...
- 3/30/2017
- by Bill Curran
- FilmExperience
Death is a grisly business. It comes to all of us. Even if you happen to be the King of France, who's been reigning for 72 years. All the documented evidence indicates Louis Xiv died of gangrene on his leg caused by diabetes. The year was 1715, without modern medicine; he died a painful, horrible death surrounded by physicians who were perplexed by his condition. Catalan filmmaker Albert Serra has been tackling literary/historical figures in his films -- Don Quixote in Honor of the Knights, the story of Magi in Birdsong, Casanova and Dracula in The Story of My Death -- approaching them in a minimalist, aggressively formalist fashion. Armed with extensive court medical documents and the writings of Duke Saint-Simon, and starring French New Wave...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 3/30/2017
- Screen Anarchy
"Your majesty appears to be most discomfited." An official Us trailer has arrived for a French film titled The Death of Louis Xiv, or La mort de Louis Xiv, made by filmmaker Albert Serra. The film had its big world premiere at the 2016 Cannes Film Festival last summer. As historically accurate as they could possibly get, the film tells the story of the French monarch, played by actor Jean-Pierre Léaud. After returning from a hunting expedition in 1715, King Louis Xiv felt a sharp pain in his leg. He begins to die of gangrene, surrounded by loyal followers. Described as "a wry neoclassical chamber drama, a work of pure magic". The cast includes Patrick d'Assumçao, Marc Susini, Bernard Belin, Irène Silvagni, and Vicenç Altaió. Here's the official trailer (+ poster) for Albert Serra's The Death of Louis Xiv, direct from Vimeo: Versailles, August 1715. Back from hunting, Louis Xiv (a magisterially bewigged...
- 3/3/2017
- by Alex Billington
- firstshowing.net
If Jean-Pierre Léaud has been a bellwether-of-sorts for world cinema since the 1960s, and his actual career a continually evolving, singular portrait-of-sorts, it should only be that the actor who began as cinema’s iconic youth, Antoine Doinel, would… not exactly end (he’s since shot another film) as Louis Xiv, but at least be in his later stages when playing the iconic French king. So’s the subject of Albert Serra‘s The Death of Louis Xiv, which observes the man’s last days slowly and ornately to the tune of great reviews since Cannes.
It’s coming to the U.S. at month’s end, ahead of which there is a trailer. As we said at Tiff, where it was one of our favorite titles, “While Serra may not be an outwardly emotional filmmaker, to give him the benefit of the doubt beyond his loud-mouthed public persona, it...
It’s coming to the U.S. at month’s end, ahead of which there is a trailer. As we said at Tiff, where it was one of our favorite titles, “While Serra may not be an outwardly emotional filmmaker, to give him the benefit of the doubt beyond his loud-mouthed public persona, it...
- 3/3/2017
- by Nick Newman
- The Film Stage
There’s ghosts, mutants, David Lynch, gorillas, cannibalism, the afterlife, and more to experience in theaters this month. Aside from the theatrical offerings, we can’t neglect mentioning the documentary adaptation Five Came Back — which explores the careers of five iconic Hollywood directors and their experience in World War II — hitting Netflix at the end of the month. Check out our picks for what to see below and let us know what you’re most looking forward to.
Matinees to See: Catfight (3/3), Before I Fall (3/3), Donald Cried (3/3), My Scientology Movie (3/3), Table 19 (3/3), Wolves (3/3), The Sense of an Ending (3/10), Burning Sands (3/10), Brimstone (3/10), 13 Minutes (3/17), Beauty and the Beast (3/17), The Belko Experiment (3/17), Burn Your Maps (3/17), The Devil’s Candy (3/17), Bokeh (3/24), I Called Him Morgan (3/24), Wilson (3/24), Life (3/24), Cezanne et moi (3/31), and Ghost in the Shell (3/31),
15. The Zookeeper’s Wife (Niki Caro; March 31)
Synopsis: The Zookeeper’s Wife tells the account of keepers of the Warsaw Zoo,...
Matinees to See: Catfight (3/3), Before I Fall (3/3), Donald Cried (3/3), My Scientology Movie (3/3), Table 19 (3/3), Wolves (3/3), The Sense of an Ending (3/10), Burning Sands (3/10), Brimstone (3/10), 13 Minutes (3/17), Beauty and the Beast (3/17), The Belko Experiment (3/17), Burn Your Maps (3/17), The Devil’s Candy (3/17), Bokeh (3/24), I Called Him Morgan (3/24), Wilson (3/24), Life (3/24), Cezanne et moi (3/31), and Ghost in the Shell (3/31),
15. The Zookeeper’s Wife (Niki Caro; March 31)
Synopsis: The Zookeeper’s Wife tells the account of keepers of the Warsaw Zoo,...
- 3/1/2017
- by Jordan Raup
- The Film Stage
Leave it to French New Wave icon Jean-Pierre Léaud and the singular charms of filmmaker Albert Serra to turn a film about a man succumbing to his final resting place — read: lots of laying down, a tremendous amount of moaning — into one of the most riveting offerings of this (or any?) year.
Serra’s “The Death of Louis Xiv” enjoyed a healthy festival run last year, including screenings at Cannes, Toronto and New York, and it’s finally bound for a limited theatrical release, all the better for audiences to have the chance to take in his consuming vision of the final days of the so-called Sun King. Léaud is at his most magnetic and magic as the beleaguered King of France, a ruler long-rumored to be seriously unwell who was ultimately felled by a spat of gangrene.
Read More: Exclusive: Albert Serra’s ‘The Death of Louis Xiv’ Acquired...
Serra’s “The Death of Louis Xiv” enjoyed a healthy festival run last year, including screenings at Cannes, Toronto and New York, and it’s finally bound for a limited theatrical release, all the better for audiences to have the chance to take in his consuming vision of the final days of the so-called Sun King. Léaud is at his most magnetic and magic as the beleaguered King of France, a ruler long-rumored to be seriously unwell who was ultimately felled by a spat of gangrene.
Read More: Exclusive: Albert Serra’s ‘The Death of Louis Xiv’ Acquired...
- 3/1/2017
- by Kate Erbland
- Indiewire
German comedy wins five awards, including best picture and director.
Toni Erdmann won five awards from the 14th International Cinephile Society on Sunday (19 Feb).
The film won best picture, best director for Maren Ade, best actor for Peter Simonischek, best original screenplay and best foreign film.
Other big winners included Isabelle Huppert, who won best actress for Elle, Andre Holland (Moonlight) and Lily Gladstone (Certain Women) in the supporting actor categories, and Elle again for adapted screenplay.
The Red Turtle won the animated film prize and Fire At Sea won best documentary.
The awards also honoured films that critics saw in festivals but did not get a theatrical release in 2016, including The Lost City Of Z, Brothers Of The Night and The Death Of Louis Xiv.
The International Cinephile Society was formed in 2003 and is made up of around 100 journalists, film scholars and other industry professionals.
Toni Erdmann won five awards from the 14th International Cinephile Society on Sunday (19 Feb).
The film won best picture, best director for Maren Ade, best actor for Peter Simonischek, best original screenplay and best foreign film.
Other big winners included Isabelle Huppert, who won best actress for Elle, Andre Holland (Moonlight) and Lily Gladstone (Certain Women) in the supporting actor categories, and Elle again for adapted screenplay.
The Red Turtle won the animated film prize and Fire At Sea won best documentary.
The awards also honoured films that critics saw in festivals but did not get a theatrical release in 2016, including The Lost City Of Z, Brothers Of The Night and The Death Of Louis Xiv.
The International Cinephile Society was formed in 2003 and is made up of around 100 journalists, film scholars and other industry professionals.
- 2/20/2017
- by orlando.parfitt@screendaily.com (Orlando Parfitt)
- ScreenDaily
To even the youngest cineaste, the name Jean-Pierre Leaud conjures up images of a singularly handsome, youthful sprite that would become the muse for numerous auteurs, particularly those bursting out of the French New Wave. Be it his subversive turn in Jacques Rivette’s masterpiece Out 1 or his revolutionary turns in a handful of Jean-Luc Godard’s most militantly Brechtian films, Leaud is a legendary French thespian whose status among film lovers grows with each new generation.
However, the name Albert Serra inspires quite the opposite response. A reknowned filmmaker among the art cinema scene, Serra’s work has been relatively relegated to the land of experimental art festivals and the occasional theatrical run in the more daring of cinemas. But what happens when these two creative forces combine? The result is one of this year’s Portland International Film Festival’s most intriguing, if polarizing, feature works.
Entitled The Death of Louis Xiv,...
However, the name Albert Serra inspires quite the opposite response. A reknowned filmmaker among the art cinema scene, Serra’s work has been relatively relegated to the land of experimental art festivals and the occasional theatrical run in the more daring of cinemas. But what happens when these two creative forces combine? The result is one of this year’s Portland International Film Festival’s most intriguing, if polarizing, feature works.
Entitled The Death of Louis Xiv,...
- 2/15/2017
- by Joshua Brunsting
- CriterionCast
Terence Davies to Catherine Marchand: "I don't want them to look as though they'd just come from costume." Photo: Anne-Katrin Titze
Terence Davies, the esteemed director of The House Of Mirth; Distant Voices, Still Lives; The Deep Blue Sea; The Long Day Closes, and Sunset Song spoke with me on the costume designs by Catherine Marchand for his latest film A Quiet Passion, starring Cynthia Nixon as Emily Dickinson with Jennifer Ehle as her sister Vinnie. Catherine Bailey, Keith Carradine, Duncan Duff, Joanna Bacon, Benjamin Wainwright, Sara Vertongen, Emma Bell, Jodhi May, and Noémie Schellens head a dandy supporting cast.
Hearing Claire Bloom read Dickinson, kidney disease, and Jean-Pierre Léaud in Albert Serra's The Death Of Louis Xiv come up in the second part of a series on my journey with Terence Davies.
Cynthia Nixon plays the scenes of the attacks beautifully. Photo: Anne-Katrin Titze
Anne-Katrin Titze: A word about the costumes.
Terence Davies, the esteemed director of The House Of Mirth; Distant Voices, Still Lives; The Deep Blue Sea; The Long Day Closes, and Sunset Song spoke with me on the costume designs by Catherine Marchand for his latest film A Quiet Passion, starring Cynthia Nixon as Emily Dickinson with Jennifer Ehle as her sister Vinnie. Catherine Bailey, Keith Carradine, Duncan Duff, Joanna Bacon, Benjamin Wainwright, Sara Vertongen, Emma Bell, Jodhi May, and Noémie Schellens head a dandy supporting cast.
Hearing Claire Bloom read Dickinson, kidney disease, and Jean-Pierre Léaud in Albert Serra's The Death Of Louis Xiv come up in the second part of a series on my journey with Terence Davies.
Cynthia Nixon plays the scenes of the attacks beautifully. Photo: Anne-Katrin Titze
Anne-Katrin Titze: A word about the costumes.
- 2/11/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
One of the superlative aspects of each and every Portland International Film Festival, is this festival’s ability to find and guts in booking the most avant-garde film films/film makers. Be it documentaries like the masterful debut of Eduardo Williams in The Human Surge or the latest fiction work from established capital A artists like Albert Serra in The Death of Louis Xiv, Piff collects and curates films that consistently attempt to push boundaries in both content and form.
That’s partly why it’s hard to describe the genuine shock one has when sitting through the bewilderingly challenging documentary Dead Slow Ahead.
Dead Slow Ahead is a rare type of debut. A first film that feels entirely of one singular and fully formed voice, first time feature filmmaker Maruo Herce introduces himself as one to keep a keen eye on. A direct extension of the “slow cinema” movement,...
That’s partly why it’s hard to describe the genuine shock one has when sitting through the bewilderingly challenging documentary Dead Slow Ahead.
Dead Slow Ahead is a rare type of debut. A first film that feels entirely of one singular and fully formed voice, first time feature filmmaker Maruo Herce introduces himself as one to keep a keen eye on. A direct extension of the “slow cinema” movement,...
- 2/10/2017
- by Joshua Brunsting
- CriterionCast
France’s foreign press corps also fete Divines, My Life As A Zucchini and The Death Of Louis Xiv. French critics honour Elle in separate awards.
Paul Verhoeven’s French-language thriller continued its winning streak at the 22nd edition of the French Lumière awards on Monday evening.
Elle won best film and best director as well as best actress for Isabelle Huppert for her performance as a hard-nosed businesswoman who plays a psychological game of cat-and-mouse with a rapist who breaks into her home.
Monday’s prizes join a growing a list of awards for both the feature and Huppert that includes the Golden Globe for best foreign language film and best actress.
Huppert is also one of the favourites in the best actress category at the Oscars and the title recently picked up 11 nominations at the French César awards.
Some 60 journalists hailing from the international press corps in France voted in the Lumière Awards, which are regarded...
Paul Verhoeven’s French-language thriller continued its winning streak at the 22nd edition of the French Lumière awards on Monday evening.
Elle won best film and best director as well as best actress for Isabelle Huppert for her performance as a hard-nosed businesswoman who plays a psychological game of cat-and-mouse with a rapist who breaks into her home.
Monday’s prizes join a growing a list of awards for both the feature and Huppert that includes the Golden Globe for best foreign language film and best actress.
Huppert is also one of the favourites in the best actress category at the Oscars and the title recently picked up 11 nominations at the French César awards.
Some 60 journalists hailing from the international press corps in France voted in the Lumière Awards, which are regarded...
- 1/31/2017
- ScreenDaily
France’s foreign press corps also fete Divines, My Life As A Zucchini and The Death Of Louis Xiv. French critics honour Elle in separate awards.
Paul Verhoeven’s French-language thriller continued its winning streak at the 22nd edition of the French Lumière awards on Monday evening.
Elle won best film and best director as well as best actress for Isabelle Huppert for her performance as a hard-nosed businesswoman who plays a psychological game of cat-and-mouse with a rapist who breaks into her home.
Monday’s prizes join a growing a list of awards for both the feature and Huppert that includes the Golden Globe for best foreign language film and best actress.
Huppert is also one of the favourites in the best actress category at the Oscars and the title recently picked up 11 nominations at the French César awards.
Some 60 journalists hailing from the international press corps in France voted in the Lumière Awards, which are regarded...
Paul Verhoeven’s French-language thriller continued its winning streak at the 22nd edition of the French Lumière awards on Monday evening.
Elle won best film and best director as well as best actress for Isabelle Huppert for her performance as a hard-nosed businesswoman who plays a psychological game of cat-and-mouse with a rapist who breaks into her home.
Monday’s prizes join a growing a list of awards for both the feature and Huppert that includes the Golden Globe for best foreign language film and best actress.
Huppert is also one of the favourites in the best actress category at the Oscars and the title recently picked up 11 nominations at the French César awards.
Some 60 journalists hailing from the international press corps in France voted in the Lumière Awards, which are regarded...
- 1/30/2017
- ScreenDaily
Two Oscar nominees took home big prizes at France's Lumiere Awards, with Isabelle Huppert winning the best actress prize for her role in Elle and My Life as a Zucchini scoring a best animated film win, as the French foreign press academy handed out prizes during a ceremony held at the Madeleine Theater in Paris.
Paul Verhoeven's Elle was the big winner with three trophies, including best film, best director and Huppert's actress nod. It had been nominated in four categories, tied with Albert Serra's The Death of Louis Xiv, Alain Guiraudie’s Staying Vertical and Stephane Brize’s A Woman’s Life.
Jean-Pierre Leaud won the...
Paul Verhoeven's Elle was the big winner with three trophies, including best film, best director and Huppert's actress nod. It had been nominated in four categories, tied with Albert Serra's The Death of Louis Xiv, Alain Guiraudie’s Staying Vertical and Stephane Brize’s A Woman’s Life.
Jean-Pierre Leaud won the...
- 1/21/2017
- by Rhonda Richford
- The Hollywood Reporter - Movie News
Exclusive: Vincent Lindon stars as journalist investigating saintly apparition
Paris-based Memento Films International (Mfi) will launch sales on French filmmaker Xavier Giannoli’s upcoming drama The Apparition at the forthcoming edition of Unifrance’s Rendez-vous with French Cinema in Paris (Jan 12-16).
Vincent Lindon will star as a journalist sent on a mission by the Vatican to investigate reports of a saintly apparition in a small French village. What he discovers shakes his personal beliefs to the core.
The $8.1m (€7.7m) drama is due to shoot early 2017 for a spring 2018 delivery. Olivier Delbosc’s Paris-based Curiosa Films is producing.
In the meantime, Lindon, who won the Cannes Palme d’Or for best actor for his performance in social drama The Measure Of A Man in 2015, will hit the big screen this year in the role of Auguste Rodin in Jacques Doillon’s bio-pic Rodin capturing the life of the legendary French sculptor.
Other Apparition...
Paris-based Memento Films International (Mfi) will launch sales on French filmmaker Xavier Giannoli’s upcoming drama The Apparition at the forthcoming edition of Unifrance’s Rendez-vous with French Cinema in Paris (Jan 12-16).
Vincent Lindon will star as a journalist sent on a mission by the Vatican to investigate reports of a saintly apparition in a small French village. What he discovers shakes his personal beliefs to the core.
The $8.1m (€7.7m) drama is due to shoot early 2017 for a spring 2018 delivery. Olivier Delbosc’s Paris-based Curiosa Films is producing.
In the meantime, Lindon, who won the Cannes Palme d’Or for best actor for his performance in social drama The Measure Of A Man in 2015, will hit the big screen this year in the role of Auguste Rodin in Jacques Doillon’s bio-pic Rodin capturing the life of the legendary French sculptor.
Other Apparition...
- 1/10/2017
- ScreenDaily
And the winners are…
Best Picture: Moonlight
Best Animated Feature: Kubo and the Two Strings
Best Director: Barry Jenkins – Moonlight
Best Actor: Casey Affleck – Manchester by the Sea
Best Actress: Natalie Portman – Jackie
Best Supporting Actor: Mahershala Ali – Moonlight
Best Supporting Actress: Naomie Harris – Moonlight
Best Original Screenplay: Hell or High Water – Taylor Sheridan
Best Adapted Screenplay: Arrival – Eric Heisserer, Ted Chiang
Best Editing: La La Land – Tom Cross
Best Cinematography: La La Land – Linus Sandgren
Best Film Not in the English Language: The Handmaiden – South Korea
Best Documentary: O.J.: Made in America
Previous: 12.28.16:
The Online Film Critics Society — of which I am a member — has announced the nominees for its 2016 awards. Links here go to my reviews, with reviews to come for most if not all those I haven’t yet reviewed. Winners will be announced Tuesday, January 3rd.
And the nominees are:
Best Picture
Arrival
The Handmaiden...
Best Picture: Moonlight
Best Animated Feature: Kubo and the Two Strings
Best Director: Barry Jenkins – Moonlight
Best Actor: Casey Affleck – Manchester by the Sea
Best Actress: Natalie Portman – Jackie
Best Supporting Actor: Mahershala Ali – Moonlight
Best Supporting Actress: Naomie Harris – Moonlight
Best Original Screenplay: Hell or High Water – Taylor Sheridan
Best Adapted Screenplay: Arrival – Eric Heisserer, Ted Chiang
Best Editing: La La Land – Tom Cross
Best Cinematography: La La Land – Linus Sandgren
Best Film Not in the English Language: The Handmaiden – South Korea
Best Documentary: O.J.: Made in America
Previous: 12.28.16:
The Online Film Critics Society — of which I am a member — has announced the nominees for its 2016 awards. Links here go to my reviews, with reviews to come for most if not all those I haven’t yet reviewed. Winners will be announced Tuesday, January 3rd.
And the nominees are:
Best Picture
Arrival
The Handmaiden...
- 1/3/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
Find out what made our top 10 films of 2016 - and which films feature on Team Screen’s overall top 10.Scroll down for Screen’s overall top 10
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films seen in 2016. Festival premieres and UK/Us theatrical releases are deemed eligible.
Matt Mueller (editor)
Moonlight (dir. Barry Jenkins)La La Land (dir. Damien Chazelle)Aquarius (dir. Kleber Mendonça Filho)Mustang (dir. Deniz Gamze Ergüven)Hell Or High Water (dir. David Mackenzie)Embrace Of The Serpent (dir. Ciro Guerra)Little Men (dir. Ira Sachs)Suntan (dir. Argyris Papadimitropoulos)Love & Friendship (dir. Whit Stillman)Nocturnal Animals (dir Tom Ford)Jeremy Kay (Us editor)
Manchester By The Sea (dir. Kenneth Lonergan)Neruda (dir. Pablo Larrain)Aquarius (dir. Kleber Mendonça Filho)Deadpool (dir Tim Miller)Fire At Sea (dir. Gianfranco Rosi)Moonlight (dir. Barry Jenkins)Oj: Made In America (dir. Ezra Edelman)[link=tt...
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films seen in 2016. Festival premieres and UK/Us theatrical releases are deemed eligible.
Matt Mueller (editor)
Moonlight (dir. Barry Jenkins)La La Land (dir. Damien Chazelle)Aquarius (dir. Kleber Mendonça Filho)Mustang (dir. Deniz Gamze Ergüven)Hell Or High Water (dir. David Mackenzie)Embrace Of The Serpent (dir. Ciro Guerra)Little Men (dir. Ira Sachs)Suntan (dir. Argyris Papadimitropoulos)Love & Friendship (dir. Whit Stillman)Nocturnal Animals (dir Tom Ford)Jeremy Kay (Us editor)
Manchester By The Sea (dir. Kenneth Lonergan)Neruda (dir. Pablo Larrain)Aquarius (dir. Kleber Mendonça Filho)Deadpool (dir Tim Miller)Fire At Sea (dir. Gianfranco Rosi)Moonlight (dir. Barry Jenkins)Oj: Made In America (dir. Ezra Edelman)[link=tt...
- 12/20/2016
- ScreenDaily
The BFI Sight and Sound list has come out with their top ten. Toni Erdmann Moonlight Elle Certain Women American Honey I, Daniel Blake Manchester by the Sea Things to Come...
- 12/2/2016
- by Sasha Stone
- AwardsDaily.com
Sight & Sound, the BFI’s international film magazine, has unveiled its annual Top 20 films of the year list. Topping their annual poll is the German-Austrian comedy “Toni Erdmann” directed by Maren Ade. The film stars Sandra Hüller as a reluctant woman who must spend time with her estranged father, portrayed by Peter Simonischek, when he comes for a surprise visit.
“This makes us extremely proud, especially considering how many films you all watch in a year — and since we are all longstanding followers of the poll!” Ade stated.
Read More: New York Film Critics Circle Awards 2016: Full Winners List (Updated Live)
In second place is Barry Jenkins’ “Moonlight,” with Paul Verhoeven’s “Elle,” starring Isabelle Huppert, in third place. This year’s top five list also boasts three incredibly talented female directors: Ade, Kelly Reichardt (“Certain Women”) and Andrea Arnold (“American Honey”), each known for their bold and original storytelling.
“This makes us extremely proud, especially considering how many films you all watch in a year — and since we are all longstanding followers of the poll!” Ade stated.
Read More: New York Film Critics Circle Awards 2016: Full Winners List (Updated Live)
In second place is Barry Jenkins’ “Moonlight,” with Paul Verhoeven’s “Elle,” starring Isabelle Huppert, in third place. This year’s top five list also boasts three incredibly talented female directors: Ade, Kelly Reichardt (“Certain Women”) and Andrea Arnold (“American Honey”), each known for their bold and original storytelling.
- 12/2/2016
- by Liz Calvario
- Indiewire
It may just be the start of December, but there’s already no shortage of best-of-2016 lists. While ours won’t arrive until closer to year’s end, one of the most astute organizations have delivered theirs today. The BFI magazine Sight & Sound polled over 150 UK and international film critics on their favorite films of the year and the resulting 20 selections are quite fantastic.
Led by Maren Ade‘s Toni Erdmann, its top five is rounded out by Moonlight, Elle, Certain Women, and American Honey. One of our favorite selections is Bertrand Bonello‘s Paris-set terrorism drama Nocturama, one of the most distinct and bold features I’ve seen all year, and one in desperate need of U.S. distribution. In terms of documentaries, Kirsten Johnson‘s fantastic Cameraperson made the cut as did Italy’s Oscar entry Fire at Sea.
“I am delighted that our poll recognizes the talent...
Led by Maren Ade‘s Toni Erdmann, its top five is rounded out by Moonlight, Elle, Certain Women, and American Honey. One of our favorite selections is Bertrand Bonello‘s Paris-set terrorism drama Nocturama, one of the most distinct and bold features I’ve seen all year, and one in desperate need of U.S. distribution. In terms of documentaries, Kirsten Johnson‘s fantastic Cameraperson made the cut as did Italy’s Oscar entry Fire at Sea.
“I am delighted that our poll recognizes the talent...
- 12/2/2016
- by Jordan Raup
- The Film Stage
Despite a string of bad fortune that has kept them moving from venue to venue to venue, the genius directorchoreographer Austin McCormick's Company Xiv, with its distinct style mixing classical dance, burlesque, acrobatics and pop music presented in an erotic baroque fashion inspired by the courtly entertainments of France's Louis Xiv, remains one of the most exciting performing arts companies New York has to offer.
- 10/27/2016
- by Michael Dale
- BroadwayWorld.com
First edition of pan-European online festival is a joint initiative between Arte and Festival Scope.
Serbian actress and director Mirjana Karanović’s A Good Wife has won the €50,000 audience award at the first edition of ArteKino, a new pan-European online film festival launched by Franco-German broadcaster Arte and Paris-based digital film platform Festival Scope.
Running September 30 to October 9, the event showcased 10 European feature films. The organisers released 50,000 free online tickets in 44 European countries.
A Good Wife marks a directorial debut for Karanović who also stars in the film as a happily-married woman living in an upscale suburb of Belgrade whose life is overturned on discovering her perfect husband has a dark past.
The film was produced by This & That Productions, Deblokada, Nukleus Film Production and is sold internationally by Films Boutique.
The €50,000 prize money – sponsored by Nespresso - goes to Karanović and Film Boutique to help distribute the film internationally.
A Good Wife...
Serbian actress and director Mirjana Karanović’s A Good Wife has won the €50,000 audience award at the first edition of ArteKino, a new pan-European online film festival launched by Franco-German broadcaster Arte and Paris-based digital film platform Festival Scope.
Running September 30 to October 9, the event showcased 10 European feature films. The organisers released 50,000 free online tickets in 44 European countries.
A Good Wife marks a directorial debut for Karanović who also stars in the film as a happily-married woman living in an upscale suburb of Belgrade whose life is overturned on discovering her perfect husband has a dark past.
The film was produced by This & That Productions, Deblokada, Nukleus Film Production and is sold internationally by Films Boutique.
The €50,000 prize money – sponsored by Nespresso - goes to Karanović and Film Boutique to help distribute the film internationally.
A Good Wife...
- 10/17/2016
- ScreenDaily
NEWSAndrzej WajdaJust under a month since his latest film, Afterimage, received its world premiere at the Toronto International Film Festival, the great Polish director Andrzej Wajda (Ashes and Diamonds, Man of Marble) has died at the age of 90.How precious two minutes of film can be! The Czech national film archives have identified a previously lost film by Georges Méliès, says The Guardian: "The two-minute silent film Match de Prestidigitation (“conjuring contest”) from 1904 was found on a reel given to the archives by an anonymous donor, labelled as another film."The digital home of films in the Criterion Collection have moved around over the years, and, as of October 19, will find a new access point as an add-on subscription to Turner's new streaming service, FilmStruck. The service launches October 19.French director F.J. Ossang has surprisingly turned to crowdfunding to finish his new feature, 9 Doigts ("9 Fingers"). Shot in black and white 35 mm,...
- 10/12/2016
- MUBI
Jean-Pierre Léaud to Anne-Katrin Titze: "In terms of what you felt, I can understand that and I felt something similar." Photo: Anne-Katrin Titze
Albert Serra's confined and vast The Death of Louis Xiv (La Mort De Louis Xiv), co-written with Thierry Lounas (producer of Abel Ferrara's Pasolini, with Willem Dafoe as Pier Paolo Pasolini) stars Jean-Pierre Léaud as the Sun King himself during the final weeks of his life. Patrick d’Assumçao, Marc Susini and Irène Silvagni as Madame de Maintenon (played by Isabelle Huppert in Patricia Mazuy's Saint-Cyr - The King's Daughters) head a brooding supporting cast.
Courtiers come and go for business. The doctor places a glass eye on the king's forehead for diagnosis. Medicine in the 18th century is "not an exact science". Based on the writings of Saint-Simon, medical records, and other notes from court, Albert Serra's film focuses on potent details...
Albert Serra's confined and vast The Death of Louis Xiv (La Mort De Louis Xiv), co-written with Thierry Lounas (producer of Abel Ferrara's Pasolini, with Willem Dafoe as Pier Paolo Pasolini) stars Jean-Pierre Léaud as the Sun King himself during the final weeks of his life. Patrick d’Assumçao, Marc Susini and Irène Silvagni as Madame de Maintenon (played by Isabelle Huppert in Patricia Mazuy's Saint-Cyr - The King's Daughters) head a brooding supporting cast.
Courtiers come and go for business. The doctor places a glass eye on the king's forehead for diagnosis. Medicine in the 18th century is "not an exact science". Based on the writings of Saint-Simon, medical records, and other notes from court, Albert Serra's film focuses on potent details...
- 10/7/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Each year, the curators and programmers at the New York Film Festival bring the finest films from the festival circuit along with select World Premieres to devoted cinephiles and moviegoers in the Big Apple. 2016 is no different, with lots of great movies to choose from, and if you happen to be in New York, we’ve got tickets for this evening’s screening of Albert Serra‘s “The Death Of Louis Xiv” at Alice Tully Hall at 6 Pm.
Continue reading Contest: Win Tickets For Tonight’s New York Film Festival Screening Of ‘The Death of Louis Xiv’ Starring Jean-Pierre Léaud at The Playlist.
Continue reading Contest: Win Tickets For Tonight’s New York Film Festival Screening Of ‘The Death of Louis Xiv’ Starring Jean-Pierre Léaud at The Playlist.
- 10/6/2016
- by Edward Davis
- The Playlist
The French monarch Louis Xiv ruled over his country for nearly 73 years. The two-part premiere episode of Ovation's new historical drama about the early days of Louis' reign feels about as long, though more because of its stultifying mediocrity than any brazen awfulness. Stem to stern, you can see evidence of the better, or at least the more involving television series that surely inspired this U.K.-France-Canada co-production (which has already aired abroad). A little Downton Abbey sass. Some Game of Thrones boobage and bloodshed . A whole lot of soap-operatic salaciousness a la The Tudors or The Borgias,
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- 9/30/2016
- by Keith Uhlich
- The Hollywood Reporter - Movie News
Anglo-French drama Versailles debuts Stateside on Ovation TV tomorrow night (October 1) at 10 Pm with a two-hour opener. The English-language series from Canal+ Création covers the first years in power of the young Louis Xiv (Vikings‘ George Blagden) and was a big ratings hit for France's Canal Plus when it began airing in November 2015. In a rare move for a foreign TV production, cast and creators gathered at the French Embassy in Washington DC this week for a splashy…...
- 9/30/2016
- Deadline TV
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