Metrograph
With her sublime debut All is Forgiven now playing, Mia Hansen-Løve has curated a series populated by the likes of Varda, Rohmer, and Edward Yang.
Museum of Modern Art
A series curated by Mark McElhatten sees India Song screen on Saturday and L’amour Fou this Sunday.
Film Forum
Miraculously rediscovered and restored, the Iranian film Chess of the Wind continues; Harold Lloyd’s For Heaven’s Sake and an Amos Vogel program screen on Sunday.
Roxy Cinema
Prints of Boarding Gate and Demonlover screen throughout the weekend; Irma Vep also plays.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure continues and World of Wong Kar-wai keeps going, El Topo, Natural Born Killers, Mulholland Dr., House, and Hour of the Wolf have showings.
Anthology Film Archives
A series on “Folk Horror” continues.
Museum of the Moving Image
A 90th-anniversary retro of Universal Horror continues, while an Amos Vogel retrospective is underway.
With her sublime debut All is Forgiven now playing, Mia Hansen-Løve has curated a series populated by the likes of Varda, Rohmer, and Edward Yang.
Museum of Modern Art
A series curated by Mark McElhatten sees India Song screen on Saturday and L’amour Fou this Sunday.
Film Forum
Miraculously rediscovered and restored, the Iranian film Chess of the Wind continues; Harold Lloyd’s For Heaven’s Sake and an Amos Vogel program screen on Sunday.
Roxy Cinema
Prints of Boarding Gate and Demonlover screen throughout the weekend; Irma Vep also plays.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure continues and World of Wong Kar-wai keeps going, El Topo, Natural Born Killers, Mulholland Dr., House, and Hour of the Wolf have showings.
Anthology Film Archives
A series on “Folk Horror” continues.
Museum of the Moving Image
A 90th-anniversary retro of Universal Horror continues, while an Amos Vogel retrospective is underway.
- 11/4/2021
- by Nick Newman
- The Film Stage
There’s another new streaming service making its way into the market. Magnolia Pictures announced Thursday that it has launched Magnolia Selects, an indie streaming platform boasting Magnolia’s library of independent films.
Magnolia has also launched three subscription-based movie channels that will air via Dish in the U.S. The channels, called “Warriors & Gangsters,” “Dox” and “Monsters & Nightmares,” are genre specific to action, documentaries and horror, respectively, and will provide a curated selection of movies within those genres.
Magnolia Selects launches at a price of $4.99 per month, and each standalone chanell will cost $2.99 per month via Dish’s On Demand Subscriptions and the Dish Anywhere app.
Also Read: IFC Films Launches Subscription VOD Streaming Service
“With Magnolia Selects’ latest expansion on Dish, our films have the ability to reach new audiences on more platforms than ever before,” Magnolia president Eamonn Bowles said in a statement. “We’re excited to...
Magnolia has also launched three subscription-based movie channels that will air via Dish in the U.S. The channels, called “Warriors & Gangsters,” “Dox” and “Monsters & Nightmares,” are genre specific to action, documentaries and horror, respectively, and will provide a curated selection of movies within those genres.
Magnolia Selects launches at a price of $4.99 per month, and each standalone chanell will cost $2.99 per month via Dish’s On Demand Subscriptions and the Dish Anywhere app.
Also Read: IFC Films Launches Subscription VOD Streaming Service
“With Magnolia Selects’ latest expansion on Dish, our films have the ability to reach new audiences on more platforms than ever before,” Magnolia president Eamonn Bowles said in a statement. “We’re excited to...
- 9/12/2019
- by Brian Welk
- The Wrap
Watch an auteur’s early short and it usually goes one of two ways: a) the pieces, or fragments, of directorial style and thematics are all there, and hindsight makes it no wonder that said auteur ended up a major figure; or b) they clearly found a different way down the road, and “minor anomaly” thus becomes the common response.
Olivier Assayas’ 1982 piece Left Unfinished in Tokyo, as its title may suggest, has a way of splitting the difference. Le CiNéMa Club continue their programming hot streak with this 20-minute film, available for free until Friday and something of a must-see for fans and skeptics alike. It will take all of a minute to recall the international cross-referencing and espionage(-ish) dealings of Demonlover, Boarding Gate, and Irma Vep, its narrative — wherein some academics in over their heads find the picturesque qualities of their adopted country are perhaps enough to maintain security — a neat supplement.
Olivier Assayas’ 1982 piece Left Unfinished in Tokyo, as its title may suggest, has a way of splitting the difference. Le CiNéMa Club continue their programming hot streak with this 20-minute film, available for free until Friday and something of a must-see for fans and skeptics alike. It will take all of a minute to recall the international cross-referencing and espionage(-ish) dealings of Demonlover, Boarding Gate, and Irma Vep, its narrative — wherein some academics in over their heads find the picturesque qualities of their adopted country are perhaps enough to maintain security — a neat supplement.
- 9/25/2018
- by Nick Newman
- The Film Stage
Anthony Bourdain watched 30 minutes of “Baby Driver” before he walked out of the movie theater. “It rubbed me the wrong way from the beginning,” he said, looking back on an experience that led him to tweet “Fuck Baby Driver” to his millions of followers. “I felt like right away I knew what was going to happen to everybody in the cast. I just felt it was telegraphed so early and painfully. I had a violent physical reaction. I stumbled out the theater in a pit of depression and fury.”
That’s the thing about Bourdain, who has spent two decades hosting food shows with a unique blend of machismo, travel fever, and cultural inquiry: A television personality who’s a creature of cinema, he devours movies almost as frequently as the cuisines at the center of his show. And in all instances, he’s man of discerning tastes.
“When you called,...
That’s the thing about Bourdain, who has spent two decades hosting food shows with a unique blend of machismo, travel fever, and cultural inquiry: A television personality who’s a creature of cinema, he devours movies almost as frequently as the cuisines at the center of his show. And in all instances, he’s man of discerning tastes.
“When you called,...
- 6/3/2018
- by Eric Kohn
- Indiewire
Close-Up is a feature that spotlights films now playing on Mubi. Olivier Assayas' Irma Vep (1996) is showing November 30 - December 30, 2017 in the United States and December 6 - January 5, 2018 in most countries around the world.An action movie star from Hong Kong, Maggie Cheung (played by Maggie Cheung) arrives in Paris and right off the airplane, exhausted and jet-lagged, finds herself in the production hell of an arthouse film that she was hired to star in. The movie is a creative (allegedly) remake of Louis Feuillade’s classic silent series Les vampires, helmed by an aging New Wave director René Vidal (Jean-Pierre Léaud). Vidal, way past his prime, doesn’t seem entirely certain about what he is doing and why but he is adamant about his vision of Maggie as Irma Vep (an anagram of ‘vampire’)—an acrobatic thief whose tight black garment is for the remake’s...
- 12/5/2017
- MUBI
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.
David Lynch: The Art Life (Jon Nguyen, Rick Barnes, and Olivia Neergaard-Holm)
Before David Lynch was a filmmaker, he was a struggling painter, whose lifeblood was to “drink coffee, smoke cigarettes, and paint.” That’s what he dubbed “the art life,” and what an image – as featured in the many contemporary photos seen in this new documentary – it is, the bequiffed 20-something Lynch sitting back in his Philadelphia studio,...
David Lynch: The Art Life (Jon Nguyen, Rick Barnes, and Olivia Neergaard-Holm)
Before David Lynch was a filmmaker, he was a struggling painter, whose lifeblood was to “drink coffee, smoke cigarettes, and paint.” That’s what he dubbed “the art life,” and what an image – as featured in the many contemporary photos seen in this new documentary – it is, the bequiffed 20-something Lynch sitting back in his Philadelphia studio,...
- 6/30/2017
- by Jordan Raup
- The Film Stage
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out….but mostly movies.
This Past Weekend:
It was absolutely no surprise that Hugh Jackman’s last Wolverine movie Logan would top the box office, but it actually ended up doing even better than my prediction when actual numbers came in, grossing $88.3 million over the weekend. That makes it the fourth highest X-Movie opening (including Deadpool) but also the biggest R-rated opening for March, defeating 300’s once-impressive $70 million opening. It’s also the fourth highest R-rated opening of all time after Deadpool, The Matrix Reloaded and American Sniper.
The bigger surprise was how well Jordan Peele’s thriller Get Out held up in its second weekend, not only because it was going up against Logan, but also because high-profile horror films tend...
This Past Weekend:
It was absolutely no surprise that Hugh Jackman’s last Wolverine movie Logan would top the box office, but it actually ended up doing even better than my prediction when actual numbers came in, grossing $88.3 million over the weekend. That makes it the fourth highest X-Movie opening (including Deadpool) but also the biggest R-rated opening for March, defeating 300’s once-impressive $70 million opening. It’s also the fourth highest R-rated opening of all time after Deadpool, The Matrix Reloaded and American Sniper.
The bigger surprise was how well Jordan Peele’s thriller Get Out held up in its second weekend, not only because it was going up against Logan, but also because high-profile horror films tend...
- 3/8/2017
- by Edward Douglas
- LRMonline.com
I’ve sought out nearly all of his films, but even that level of knowledge and admiration couldn’t prepare me for what Olivier Assayas concocted with Personal Shopper. Part-ghost story, part-rumination on grief, part-exploration of contemporary technology’s shaping of our relationship with the physical world, part-excuse to see Kristen Stewart wear very nice clothing, and a very fruitful joining of those potentially disparate parts, it proved one of my favorite viewing experiences of last year and is likely to be a highlight of (theatrically released) 2017 cinema.
“Be excited,” I guess is what I mean to say, no less so when Personal Shopper‘s U.S. release is right around the corner. In anticipation of as much, IFC have released a new trailer. As we said in our review, “After Clouds of Sils Maria, Personal Shopper confirms Olivier Assayas as the director most adept at drawing the best out of Kristen Stewart.
“Be excited,” I guess is what I mean to say, no less so when Personal Shopper‘s U.S. release is right around the corner. In anticipation of as much, IFC have released a new trailer. As we said in our review, “After Clouds of Sils Maria, Personal Shopper confirms Olivier Assayas as the director most adept at drawing the best out of Kristen Stewart.
- 2/3/2017
- by Nick Newman
- The Film Stage
All caught up with our top 50 films of 2016? It’s now time to look to the new year, and, ahead of our 100 most-anticipated films, we’re highlighting 50 titles we’ve enjoyed on the festival circuit this last year (and beyond) that will likely see a release in 2016. While the first batch have confirmed dates all the way through the summer, we’ve also included a handful that are awaiting a date and some we’re hopeful will get a release by year’s end pending acquisition. U.S. distributors: take note!
Staying Vertical (Alain Guiraudie; Jan. 20)
Those only familiar with Alain Guiraudie’s sublime Stranger By the Lake, which finally brought the gifted French director to a (relatively) wider audience following a laureled Un Certain Regard premiere in 2013, will likely find themselves confounded by its follow-up, Staying Vertical. With his first entry in Cannes’ main competition, Guiraudie returns to the...
Staying Vertical (Alain Guiraudie; Jan. 20)
Those only familiar with Alain Guiraudie’s sublime Stranger By the Lake, which finally brought the gifted French director to a (relatively) wider audience following a laureled Un Certain Regard premiere in 2013, will likely find themselves confounded by its follow-up, Staying Vertical. With his first entry in Cannes’ main competition, Guiraudie returns to the...
- 1/4/2017
- by The Film Stage
- The Film Stage
The cinema, an art that has the capacity to integrate all other arts into it, is the medium of the mash-up. Films are highly permeable, where the unexpected happens, shows up or leaks in: situations and conditions, actors and locations all combine into something frozen in images animated into an untangleable hybrid. French director Olivier Assayas is no stranger to unusual combinations, but his new film Personal Shopper with remarkable abruptness tries to integrate two seemingly unrelated stories, making for an unexpected, beguiling, often silly, but always risky cinematic experience.Both stories are of a lonely, independent young woman. The first is an anxious but self-assured medium who is haunted by the absence of afterworld signs of her dead twin brother. We meet her in her brother’s dark, emptied mansion, seeking some manifestation of his presence. She finds something there, a floating opaque wisp, thumps in the night, a cross scratched on the wall,...
- 10/6/2016
- MUBI
If we were to bestow the title of The Queen of New York Film Festival, it would certainly go to Kristen Stewart. (Although Isabelle Huppert is a strong second choice.) With three films at the festival, this generation’s best actress (at least according to Olivier Assayas) continues to prove her talents. Her latest film with the director, the ghost story Personal Shopper, finds her reeling from the death of her brother. Ahead of a March release, IFC Films has now released the first U.S. trailer.
We said in our review, “After Clouds of Sils Maria, Personal Shopper confirms Olivier Assayas as the director most adept at drawing the best out of Kristen Stewart. Here she follows in the footsteps of Maggie Cheung and Asia Argento, actors whose exceptional central performances prevented fundamentally flawed films by Assayas – Clean and Boarding Gate, respectively – from foundering altogether. Stewart’s achievement is...
We said in our review, “After Clouds of Sils Maria, Personal Shopper confirms Olivier Assayas as the director most adept at drawing the best out of Kristen Stewart. Here she follows in the footsteps of Maggie Cheung and Asia Argento, actors whose exceptional central performances prevented fundamentally flawed films by Assayas – Clean and Boarding Gate, respectively – from foundering altogether. Stewart’s achievement is...
- 9/29/2016
- by Leonard Pearce
- The Film Stage
The cinema, an art that has the capacity to integrate all other arts into it, is the medium of the mash-up. Films are highly permeable, where the unexpected happens, shows up or leaks in: situations and conditions, actors and locations all combine into something frozen in images animated into an untangleable hybrid. French director Olivier Assayas is no stranger to unusual combinations, but his new film Personal Shopper with remarkable abruptness tries to integrate two seemingly unrelated stories, making for an unexpected, beguiling, often silly, but always risky cinematic experience.Both stories are of a lonely, independent young woman. The first is an anxious but self-assured medium who is haunted by the absence of afterworld signs of her dead twin brother. We meet her in her brother’s dark, emptied mansion, seeking some manifestation of his presence. She finds something there, a floating opaque wisp, thumps in the night, a cross scratched on the wall,...
- 5/19/2016
- MUBI
After Clouds of Sils Maria, Personal Shopper confirms Olivier Assayas as the director most adept at drawing the best out of Kristen Stewart. Here she follows in the footsteps of Maggie Cheung and Asia Argento, actors whose exceptional central performances prevented fundamentally flawed films by Assayas – Clean and Boarding Gate, respectively – from foundering altogether. Stewart’s achievement is arguably even more remarkable considering that for the bulk of Personal Shopper’s running time, her only co-actor is an iPhone.
En route to London from Paris to buy clothes for her employer Kyra (Nora von Waldstätten), a high-profile celebrity too busy to do her own shopping, Stewart’s character Maureen starts receiving text messages from an unknown number. As transpired earlier in the film, Maureen is still grieving over the death of her twin brother Lewis three months prior and has since been trying to make contact with his spirit – while he was still alive,...
En route to London from Paris to buy clothes for her employer Kyra (Nora von Waldstätten), a high-profile celebrity too busy to do her own shopping, Stewart’s character Maureen starts receiving text messages from an unknown number. As transpired earlier in the film, Maureen is still grieving over the death of her twin brother Lewis three months prior and has since been trying to make contact with his spirit – while he was still alive,...
- 5/17/2016
- by Giovanni Marchini Camia
- The Film Stage
Since any New York 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.
Metrograph
Frederick Wiseman‘s High School begins a week-long run.
“Welcome to Metrograph: A to Z” offers multiple titles this weekend, including Assayas‘ Boarding Gate, The Beguiled, and Nicolas Roeg‘s Bad Timing.
A 35mm print of Carol screens on Saturday night.
Cary Grant and Irene Dunne star in My Favorite Wife, playing this Sunday.
Museum...
Metrograph
Frederick Wiseman‘s High School begins a week-long run.
“Welcome to Metrograph: A to Z” offers multiple titles this weekend, including Assayas‘ Boarding Gate, The Beguiled, and Nicolas Roeg‘s Bad Timing.
A 35mm print of Carol screens on Saturday night.
Cary Grant and Irene Dunne star in My Favorite Wife, playing this Sunday.
Museum...
- 3/25/2016
- by Nick Newman
- The Film Stage
Let’s start with this obvious point: few cities need another repertory outlet less than New York City, which provides enough decent-to-outstanding options every week (or day) to fully occupy any caring customer. And so when a new theater, Metrograph, was announced this past August, the largely enthusiastic response — people taking note of a good location, a dedication to celluloid presentations and new independent releases, its strong selection of programmers, and other services (e.g. a restaurant and “cinema-dedicated bookshop”) — went hand-in-hand with some people’s skepticism, or at least a certain raising of the eyebrows. The question of necessity was premature, but such is the influx of available material that it should inevitably come up.
It’s safe to say their first selections silenced those skeptics. Metrograph’s slate is strong in a way that’s uncommon; one could say it’s exactly the sort that a cinephile with...
It’s safe to say their first selections silenced those skeptics. Metrograph’s slate is strong in a way that’s uncommon; one could say it’s exactly the sort that a cinephile with...
- 3/2/2016
- by Nick Newman
- The Film Stage
Watching a film by Olivier Assayas is a little like wandering into the bedroom of a teenager, taking in the aesthetic décor that clings to his or her walls and bookshelves—posters, pop records, hastily cut-out collages of idols, and literature—and being left to draw a logical conclusion based on these ephemeral scraps. This idea of collage, assembling or reinventing an identity, has always been a concept inherent to punk and youth culture: British punk historian Jon Savage coined the term “living collage” to describe European teenagers in the 1970s who tore apart thrifted vintage clothing at the seams to fuse and repurpose them with safety pins. Assayas’ work is essentially the filmic equivalent of that same idea: he populates his frames with torrents of ideas and surfaces and lets loose cinematographers Yorick Le Saux and Eric Gautier to pan wildly, struggling to encapsulate everything into their widescreen, handheld compositions.
- 5/8/2015
- by Mark Lukenbill
- MUBI
Though the majority of Dario Argento's earlier films are more or less universally loved by horror fans, not even the biggest supporter of his work can deny that the Italian maestro has lost something along the way.
By all accounts, his take on Dracula (review) represents an all-time low for the filmmaker, but you'll be able to form your own opinion later this month. Sink your fangs into the details below.
From the Press Release
Horror maestro Dario Argento puts his unique stylistic spin on the classic supernatural tale in Dracula, a sexually charged, visually sumptuous retelling of the legendary myth. The film arrives on DVD and 3D Blu-ray on January 28, 2014, via IFC Midnight with SRPs, respectively, of $24.98 and $29.98.
It's been 400 years since Count Dracula's (Thomas Kretschmann; Wanted, Valkyrie) beloved Countess Dolingen passed away, leaving the immortal bloodsucker forever abandoned. But when he discovers that local newlywed Mina...
By all accounts, his take on Dracula (review) represents an all-time low for the filmmaker, but you'll be able to form your own opinion later this month. Sink your fangs into the details below.
From the Press Release
Horror maestro Dario Argento puts his unique stylistic spin on the classic supernatural tale in Dracula, a sexually charged, visually sumptuous retelling of the legendary myth. The film arrives on DVD and 3D Blu-ray on January 28, 2014, via IFC Midnight with SRPs, respectively, of $24.98 and $29.98.
It's been 400 years since Count Dracula's (Thomas Kretschmann; Wanted, Valkyrie) beloved Countess Dolingen passed away, leaving the immortal bloodsucker forever abandoned. But when he discovers that local newlywed Mina...
- 1/7/2014
- by John Squires
- DreadCentral.com
Olivier Assayas's new film is set amid the fallout of the May 68 uprising and the rebellious antics of its hero recall the director's own youthful protests. He talks about adrenaline rushes and breaking rules
Olivier Assayas, the writer, director and former film critic, is truly cool. He is the maker of some of the most playful, intellectual French cinema of the past two decades. His tastes are eclectic, his skill-set vast: he can move confidently between witty romps (such as his 1996 breakthrough, Irma Vep, one of the cleverest of all films about film-making, or the techno-thriller Demonlover) and lavish, patient period pieces (Les Destinées Sentimentales) or slow-burn emotional studies (Summer Hours). His most formidable achievement is the five-and-a-half-hour Carlos, a painstaking recreation of the rise of Carlos the Jackal made for television in 2010 but mounted with a scope and handsomeness to shame any Hollywood equivalent.
Separated from the actor Maggie Cheung,...
Olivier Assayas, the writer, director and former film critic, is truly cool. He is the maker of some of the most playful, intellectual French cinema of the past two decades. His tastes are eclectic, his skill-set vast: he can move confidently between witty romps (such as his 1996 breakthrough, Irma Vep, one of the cleverest of all films about film-making, or the techno-thriller Demonlover) and lavish, patient period pieces (Les Destinées Sentimentales) or slow-burn emotional studies (Summer Hours). His most formidable achievement is the five-and-a-half-hour Carlos, a painstaking recreation of the rise of Carlos the Jackal made for television in 2010 but mounted with a scope and handsomeness to shame any Hollywood equivalent.
Separated from the actor Maggie Cheung,...
- 5/16/2013
- by Ryan Gilbey
- The Guardian - Film News
“Film Criticism no longer has any meaning, it is reality we must analyze in a cinematic way.” – Hanns Zischler
There’s nothing more inducive of genuine pathos than a man who is bored with a franchise. Inevitably, he starts skeezin’ “his” subordinate labor, loses the things that are dear to him, and suffers in multiple paternity suits. Michael Bay is bored. How awesomely pathetic! What sort of industrial filmmaker are you, man? Yamada Yoji made forty-eight Tora-san movies, pal, and you can’t even push out three without whining like the free-spirited Wesleyan bluestocking you are in your crippled soul. You’ve even lost the truest dear, Armond White: “Now, there’s no poetry; just idiotic, unintelligible machine combat. While it easily out-astonishes Chris Nolan’s glum Inception, it defames the action-movie tradition and embarrasses the talent that makes Bay a great filmmaker.” Too much wild ink spilled in the...
There’s nothing more inducive of genuine pathos than a man who is bored with a franchise. Inevitably, he starts skeezin’ “his” subordinate labor, loses the things that are dear to him, and suffers in multiple paternity suits. Michael Bay is bored. How awesomely pathetic! What sort of industrial filmmaker are you, man? Yamada Yoji made forty-eight Tora-san movies, pal, and you can’t even push out three without whining like the free-spirited Wesleyan bluestocking you are in your crippled soul. You’ve even lost the truest dear, Armond White: “Now, there’s no poetry; just idiotic, unintelligible machine combat. While it easily out-astonishes Chris Nolan’s glum Inception, it defames the action-movie tradition and embarrasses the talent that makes Bay a great filmmaker.” Too much wild ink spilled in the...
- 10/23/2011
- MUBI
Saturday, May 14, marks the opening day of Creation Entertainment’s Weekend of Horrors. The weekend-long horror convention returns to Los Angeles at the Marriott Hotel Los Angeles Airport for two more days of terrific opportunities for genre fans to meet, greet and interact with their favorite actors and filmmakers. This year promises some truly exciting guests, including none other than iconic horror filmmaker John Carpenter (“Halloween”), longtime character actor Ernest Borgnine (“Marty”), actress Asia Argento (“Boarding Gate”), and one of Hitchcock’s most famous actresses,...
- 5/14/2011
- by Todd Gilchrist
- Speakeasy/Wall Street Journal
The more things change, the more they stay the same. Olivier Assayas has made a fascinating career out of veering radically through some of the most opposite genres known to man - one day exploring web companies that deal in bizarre pornography (Demonlover), another conducting a character study of an ex-junkie (Clean). Mostly, however, Assayas seems to veer back and forth between two sorts of films that seemingly couldn't be further apart: sexy international espionage thrillers (Boarding Gate, the aforementioned Demonlover) and intimate studies of character and relationships (Late August, Early September and the sublime Summer Hours, his best film). As Summer Hours was Assayas' most recent effort, it only makes sense that he's back with yet another sexy international espionage thriller, and this time he's embracing the genre more than ever before (while at the same time, he subtly undermines it). Carlos, which is more of a trilogy than a single film,...
- 10/11/2010
- TribecaFilm.com
With his latest cinematic outing, the five hour long epic Carlos, making the festival rounds, director Olivier Assayas (Summer Hours) will be the subject of a new restrospective thanks to BAMcinematek in Brooklyn in October.
Entitled Post-Punk Auteur: Olivier Assayas, the complete retrospective will run from October 9, until October 29, and will star on Saturday, October 9, with his latest film, and Criterion release, Summer Hours.
Among films showing, Carlos will show on October 23 and 24, with a special screening of his film Demonlover, which will include a Q&A with the auteur following the screening.
As with most retrospectives, this will offer a fantastic, all encompassing view of one of today’s most gifted filmmakers, and one who doesn’t seem like he’ll be slowing down anytime soon. While I’m not massively familiar with his filmography, I have seen a few of his films, such as the aforementioned Summer Hours,...
Entitled Post-Punk Auteur: Olivier Assayas, the complete retrospective will run from October 9, until October 29, and will star on Saturday, October 9, with his latest film, and Criterion release, Summer Hours.
Among films showing, Carlos will show on October 23 and 24, with a special screening of his film Demonlover, which will include a Q&A with the auteur following the screening.
As with most retrospectives, this will offer a fantastic, all encompassing view of one of today’s most gifted filmmakers, and one who doesn’t seem like he’ll be slowing down anytime soon. While I’m not massively familiar with his filmography, I have seen a few of his films, such as the aforementioned Summer Hours,...
- 9/15/2010
- by Joshua Brunsting
- CriterionCast
The prospect of sitting through a very long movie can be intimidating (if it’s a dud, you aren’t just bored, you’re trapped). But from the moment I heard about Carlos, Olivier Assayas’ five-hour-and-33-minute dramatization of the life of Carlos the Jackal (née Ilich Ramirez Sanchez), the notorious, Venezualan-born radical-Marxist terrorist mercenary of the ’70s and ’80s, I was salivating to see it. It sounded like a real down-and-dirty, meat-and-potatoes movie, the sort of thing that can be cathartically satisfying after sitting through a week’s worth of festival-friendly art films. And, in fact, Carlos turns out...
- 5/21/2010
- by Owen Gleiberman
- EW.com - The Movie Critics
Speaking of the Cannes Film Festival, an awesome new poster for French director Olivier Assayas' new film Carlos has debuted on D*Hollywood. The film is a five hour feature (cut into a three-part mini-series for French television) about Venezuelan revolutionary Ilich Ramirez Sanchez, aka Carlos the Jackal, who founded a worldwide terrorist organization and raided the Opec headquarters in 1975 before being caught by the French police. This poster reminds me a lot of the Lord of War poster with Nic Cage's face on it, but with this face created out of the destruction that Carlos is responsible for. Pretty impressive. Check it out! Carlos is directed by renowned French filmmaker Olivier Assayas, of numerous French features including Copyright, Winter's Child, A New Life, Late August, Early September, Sentimental Destinies, Boarding Gate, and Summer Hours most recently. Carlos will premiere at Cannes in its full five-and-a-half-hour cut. The full version,...
- 5/10/2010
- by Alex Billington
- firstshowing.net
Films on the cutting edge. That's how I would describe the 50 movies on this list. While some moviegoers may find it an 'alien' experience to refer to sub-titles in understanding what's happening on the big screen, a good number of audiences are totally enjoying the different and often surprising take by many foreign filmmakers, nothwithstanding the language barrier.
Content-wise, the 50 movies feature stories about war and peace, love and romance, family affairs, coming-of-age tales, cultural and religious diversity, social issues (including prostitution and abortion) and personal - celebrating life or facing death with dignity. Coverage-wise, tMF list down many of the best foreign films from 2000 until last year from the UK, France, Germany, Spain, Italy and about 15 other countries in Europe, North and Latin America and Asia-Pacific.
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André Téchiné, Catherine Breillat, Julian Schnabel, Jean-Pierre Jeunet, Christophe Barratier, Jacques Audiard, Cedric Clapisch, Francois Ozon... they are,...
Content-wise, the 50 movies feature stories about war and peace, love and romance, family affairs, coming-of-age tales, cultural and religious diversity, social issues (including prostitution and abortion) and personal - celebrating life or facing death with dignity. Coverage-wise, tMF list down many of the best foreign films from 2000 until last year from the UK, France, Germany, Spain, Italy and about 15 other countries in Europe, North and Latin America and Asia-Pacific.
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André Téchiné, Catherine Breillat, Julian Schnabel, Jean-Pierre Jeunet, Christophe Barratier, Jacques Audiard, Cedric Clapisch, Francois Ozon... they are,...
- 9/2/2009
- The Movie Fanatic
Films on the cutting edge. That's how I would describe the 50 movies on this list. While some moviegoers may find it an 'alien' experience to refer to sub-titles in understanding what's happening on the big screen, a good number of audiences are totally enjoying the different and often surprising take by many foreign filmmakers, nothwithstanding the language barrier.
Content-wise, the 50 movies feature stories about war and peace, love and romance, family affairs, coming-of-age tales, cultural and religious diversity, social issues (including prostitution and abortion) and personal - celebrating life or facing death with dignity. Coverage-wise, tMF list down many of the best foreign films from 2000 until last year from the UK, France, Germany, Spain, Italy and about 15 other countries in Europe, North and Latin America and Asia-Pacific.
André Téchiné, Catherine Breillat, Julian Schnabel, Jean-Pierre Jeunet, Christophe Barratier, Jacques Audiard, Cedric Clapisch, Francois Ozon... they are,...
Content-wise, the 50 movies feature stories about war and peace, love and romance, family affairs, coming-of-age tales, cultural and religious diversity, social issues (including prostitution and abortion) and personal - celebrating life or facing death with dignity. Coverage-wise, tMF list down many of the best foreign films from 2000 until last year from the UK, France, Germany, Spain, Italy and about 15 other countries in Europe, North and Latin America and Asia-Pacific.
André Téchiné, Catherine Breillat, Julian Schnabel, Jean-Pierre Jeunet, Christophe Barratier, Jacques Audiard, Cedric Clapisch, Francois Ozon... they are,...
- 9/2/2009
- The Movie Fanatic
Films on the cutting edge. That's how I would describe the 50 movies on this list. While some moviegoers may find it an 'alien' experience to refer to sub-titles in understanding what's happening on the big screen, a good number of audiences are totally enjoying the different and often surprising take by many foreign filmmakers, nothwithstanding the language barrier.
Content-wise, the 50 movies feature stories about war and peace, love and romance, family affairs, coming-of-age tales, cultural and religious diversity, social issues (including prostitution and abortion) and personal - celebrating life or facing death with dignity. Coverage-wise, tMF list down many of the best foreign films from 2000 until last year from the UK, France, Germany, Spain, Italy and about 15 other countries in Europe, North and Latin America and Asia-Pacific.
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André Téchiné, Catherine Breillat, Julian Schnabel, Jean-Pierre Jeunet, Christophe Barratier, Jacques Audiard, Cedric Clapisch, Francois Ozon... they are,...
Content-wise, the 50 movies feature stories about war and peace, love and romance, family affairs, coming-of-age tales, cultural and religious diversity, social issues (including prostitution and abortion) and personal - celebrating life or facing death with dignity. Coverage-wise, tMF list down many of the best foreign films from 2000 until last year from the UK, France, Germany, Spain, Italy and about 15 other countries in Europe, North and Latin America and Asia-Pacific.
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André Téchiné, Catherine Breillat, Julian Schnabel, Jean-Pierre Jeunet, Christophe Barratier, Jacques Audiard, Cedric Clapisch, Francois Ozon... they are,...
- 9/2/2009
- The Movie Fanatic
2009's Ten Best and Five Worst Films (So Far) We're technically over halfway through 2009, but a disproportionately large number of great films tend to spring up in the latter months of the year, so let's call it halfway for the sake of our collective sanity. It hasn't been a terrific year for filmgoing so far this year, but there have been enough films worth celebrating to justify a roundup. Keep in mind that these rankings are tentative - they're largely based on single viewings, and my estimates of their relative worth may vary over the course of the year. My principal question when ranking new film is: "which films am I most eager to watch again?" With that in mind, my top ten films of the year so far, in descending order: 10. Star Trek (Podcast review) [1] listen now [2] If someone had told you back in January that the summer of...
- 8/6/2009
- by Simon
- SoundOnSight
Jessica Alba entertained Honor in the security line yesterday at Lax. The pair is leaving Cash solo for a month after a fun-filled weekend, which included a dip in the ocean for bikini-clad Jess as one of the many celebs to enjoy the Summer weather in their swimsuits. Jess came in second place in our first Summer Bikini Body contest, but she's definitely tops when it comes to lighting up little Honor's expressive face. View 10 Photos › To see more Jess, just read more. View 10 Photos ›...
- 8/4/2009
- by PopSugar
- Popsugar.com
Olivier Assayas has explored multiple genres and styles during his 20-odd years as a director, but he’s best identified with flashy genre deconstructions like Irma Vep, Demonlover, and Boarding Gate. The Assayas of those films is nowhere in sight in Summer Hours, a soft, chatty drama about a well-off, seemingly happy family that discovers hidden rifts once they lose beloved matriarch Edith Scob. Most of Summer Hours’ stylistic flourishes and emotional punch are limited to two scenes set at Scob’s sprawling country estate. The first, which opens the film, has Scob’s grown children enjoying what turns out ...
- 5/14/2009
- avclub.com
"Summer Hours" review By Steve Ramos, Writer ____________________________________ French master Olivier Assayas reaches new heights with family drama 'Summer Hours' For French filmmaker Olivier Assayas, moving to the highest levels of filmmaking excellence, after 23 years of directing, involves making a subtle and somewhat intimate family drama distinctly different from his sexy thrillers “Demonlover” and “Boarding Gate” and his hip movie- about-making-movies “Irma Vep,” the film that earned him international acclaim in 1996. “Summer Hours,” (“Heure d’été”) perhaps the closest Assayas will ever come to an Anton Chekhov-like drama, showcases the storytelling talents of the former writer for France’s “Cahiers du Cinema” and veteran director. Lyrical, well told (Clémentine Schaeffer supplied the script) and beautifully shot (cameraman Eric Gautier first worked with Assayas on “Irma Vep”), “Summer Hours” is a mature drama about children, parents and the value they place on past experiences and the family home. It...
- 5/14/2009
- Upcoming-Movies.com
French master Olivier Assayas reaches new heights with family drama 'Summer Hours' For French filmmaker Olivier Assayas, moving to the highest levels of filmmaking excellence, after 23 years of directing, involves making a subtle and somewhat intimate family drama distinctly different from his sexy thrillers “Demonlover” and “Boarding Gate” and his hip movie- about-making-movies “Irma Vep,” the film that earned him international acclaim in 1996. “Summer Hours,” (“Heure d’été”) perhaps the closest Assayas will ever come to an Anton Chekhov-like drama, showcases the storytelling talents of the former writer for France’s “Cahiers du Cinema” and veteran director. Lyrical, well told (Clémentine Schaeffer supplied the script) and beautifully shot (cameraman Eric Gautier first worked with Assayas on “Irma Vep”), “Summer Hours” is a mature drama about children, parents and the value they place on past experiences and the family home. It’s not Assayas’ first movie about families...
- 5/14/2009
- Upcoming-Movies.com
French master Olivier Assayas reaches new heights with family drama 'Summer Hours' For French filmmaker Olivier Assayas, moving to the highest levels of filmmaking excellence, after 23 years of directing, involves making a subtle and somewhat intimate family drama distinctly different from his sexy thrillers “Demonlover” and “Boarding Gate” and his hip movie- about-making-movies “Irma Vep,” the film that earned him international acclaim in 1996. “Summer Hours,” (“Heure d’été”) perhaps the closest Assayas will ever come to an Anton Chekhov-like drama, showcases the storytelling talents of the former writer for France’s “Cahiers du Cinema” and veteran director. Lyrical, well told (Clémentine Schaeffer supplied the script) and beautifully shot (cameraman Eric Gautier first worked with Assayas on “Irma Vep”), “Summer Hours” is a mature drama about children, parents and the value they place on past experiences and the family home. It’s not Assayas’ first movie about families...
- 5/14/2009
- Upcoming-Movies.com
We're all for getting out in the summertime, but there might not be anything more refreshing than cooling off in a movie theater... or seeing a movie in the comfort of your air-conditioned home on demand, on DVD, or online... or better yet catching a classic on the big screen at a nearby repertory theater. With literally hundreds of films to choose from this summer, we humbly present this guide to the season's most exciting offerings.
May 1
"Eldorado"
The Cast: Bouli Lanners, Fabrice Adde, Philippe Nahon, Didier Toupy, Franise Chichy
Director: Bouli Lanners
Fest Cred: Cannes, Warsaw, Glasgow, Palm Springs,
The Gist: When Elie (Adde), a hapless young thief attempts to rob Yvan (Lanners), a 40-year-old car dealer, the two form a unlikely friendship that leads to a road trip across Belgium in this slight comedy that won the Best European Film at the Director's Fortnight at Cannes last year.
May 1
"Eldorado"
The Cast: Bouli Lanners, Fabrice Adde, Philippe Nahon, Didier Toupy, Franise Chichy
Director: Bouli Lanners
Fest Cred: Cannes, Warsaw, Glasgow, Palm Springs,
The Gist: When Elie (Adde), a hapless young thief attempts to rob Yvan (Lanners), a 40-year-old car dealer, the two form a unlikely friendship that leads to a road trip across Belgium in this slight comedy that won the Best European Film at the Director's Fortnight at Cannes last year.
- 5/6/2009
- by Stephen Saito
- ifc.com
Chicago – The final week of the 12th Annual EU Film Festival at the Siskel Film Center perfectly illustrates the main strength of this festival - amazing diversity. From what we had time to see of the final stretch of films, the four highlights couldn’t be more diverse, featuring movies from four different countries with four completely different tones and styles.
The highlights of the first three weeks of EU included a coming-of-age drama from Ireland (“Kisses”), a sexy romantic comedy from France (“The Girl From Monaco”), an amazing Danish drama (“Worlds Apart”), and a very interesting horror film from Belgium (“Left Bank”). Read more here, here, and here)
The final week takes us back to two of those countries - Belgium and France - and also features a fascinating Finnish shocker before closing with a gentle and sweet film from Sweden. Overall, it’s been a fantastic festival for...
The highlights of the first three weeks of EU included a coming-of-age drama from Ireland (“Kisses”), a sexy romantic comedy from France (“The Girl From Monaco”), an amazing Danish drama (“Worlds Apart”), and a very interesting horror film from Belgium (“Left Bank”). Read more here, here, and here)
The final week takes us back to two of those countries - Belgium and France - and also features a fascinating Finnish shocker before closing with a gentle and sweet film from Sweden. Overall, it’s been a fantastic festival for...
- 3/25/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The trio of New York Times critics (Manohla Dargis, A.O. Scott and Stephen Holden) have weighed in with their own nominations for the year's best in movies with their selections for Best Picture, Director, Actor, Actress, Supporting Actor, Supporting Actress and Original and Adapted Screenplays. Quickly glancing through the list I see Manohla Dargis loved Charlie Kaufman's Synecdoche, New York (at least the acting) and is the only one that gave The Dark Knight any love. Thankfully Slumdog Millionaire wasn't "nominated" for anything other than a lone Adapted Screenplay notice from A.O. Scott. Happy-Go-Lucky saw plenty of attention and believe it or not, there isn't one film all three could agree on for Best Picture with Wall-e and Happy-Go-Lucky being the front-runners as they were mentioned twice - Dargis was the main reason for this as her selections didn't show up on either Stephen Holden or A.
- 1/3/2009
- by Brad Brevet
- Rope of Silicon
Olivier Assayas does not get enough love on this side of the ocean. Many of his French language films remain undistributed on DVD or, in the case of his English language efforts, such as Clean, Demonlover and Boarding Gate, are largely ignored. So it is very nice to see this ‘Essential Edition’ of Irma Vep, Assayas love-letter to Maggie Cheung and loathe-letter to the foibles of French cinema get the ‘Criterion’-level treatment from Zeitgeist Films.
The film opens with a very disorganized production house in the process of mounting a remake of the iconic silent French serial Les Vampires. The lengthy opening shot follows a prop gun being passed around from desk to desk - a pretty obvious metaphor for how on edge things are; with accompanying dialogue such as “I know a decision has been made, but I’m not sure what.” There have been hundreds of movies made about making movies.
The film opens with a very disorganized production house in the process of mounting a remake of the iconic silent French serial Les Vampires. The lengthy opening shot follows a prop gun being passed around from desk to desk - a pretty obvious metaphor for how on edge things are; with accompanying dialogue such as “I know a decision has been made, but I’m not sure what.” There have been hundreds of movies made about making movies.
- 12/10/2008
- by Kurt Halfyard
- Screen Anarchy
By Michael Atkinson
In the years since "Irma Vep" (1996), French iconoclast Olivier Assayas has become more of a high-profile and international filmmaker, and at the same time a less interesting one; "Alice and Martin," "Les Destinées Sentimentales," "demonlover," "Clean" and "Boarding Gate" have all been films bristling with dramatic ideas that have been, at the same time, often half-baked or unoriginal. His yen for high-nicotine, antisocial coolness seems by now a reflex he should outgrow, but in "Irma Vep" it made perfect, hilarious, seamless sense, because the film is actually about the chaotic life of "art film" production (a swollen balloon waiting for a satiric pin), and because his star, Maggie Cheung, is the paradigmatic fish out of water, a sweet-natured Hong Kong movie star lost in the absurd nonsensicalities of post-post-nouvelle vague French cinema culture.
In many ways, the film -- still Assayas' best -- is a crazy matrix...
In the years since "Irma Vep" (1996), French iconoclast Olivier Assayas has become more of a high-profile and international filmmaker, and at the same time a less interesting one; "Alice and Martin," "Les Destinées Sentimentales," "demonlover," "Clean" and "Boarding Gate" have all been films bristling with dramatic ideas that have been, at the same time, often half-baked or unoriginal. His yen for high-nicotine, antisocial coolness seems by now a reflex he should outgrow, but in "Irma Vep" it made perfect, hilarious, seamless sense, because the film is actually about the chaotic life of "art film" production (a swollen balloon waiting for a satiric pin), and because his star, Maggie Cheung, is the paradigmatic fish out of water, a sweet-natured Hong Kong movie star lost in the absurd nonsensicalities of post-post-nouvelle vague French cinema culture.
In many ways, the film -- still Assayas' best -- is a crazy matrix...
- 12/9/2008
- by Michael Atkinson
- ifc.com
With the scariest day of the year upon us, revival houses and specialty venues in the New York City area are breaking out the fright features. In addition to the IFC Center’s midnight screenings of Werner Herzog’s Nosferatu and others (see item here), there are plenty more screenings where you can get a ghoulish flick fix:
• Manhattan’s Film Forum (209 W. Houston Street) is offering a new 35mm print of Roman Polanski’s classic Rosemary’S Baby for the movie’s 40th anniversary. Showing at 1:30 p.m., 4:10 p.m., 7 p.m. and 9:35 p.m. daily from today-Thursday, November 6, Polanski’s adaptation of Ira Levin’s best-selling novel (produced by genre legend William Castle) still chills with its tale of a young woman (Mia Farrow) who slowly discovers a devilish conspiracy around her.
• Anthology Film Archives (32 Second Avenue) is having a special Halloween midnight show tonight...
• Manhattan’s Film Forum (209 W. Houston Street) is offering a new 35mm print of Roman Polanski’s classic Rosemary’S Baby for the movie’s 40th anniversary. Showing at 1:30 p.m., 4:10 p.m., 7 p.m. and 9:35 p.m. daily from today-Thursday, November 6, Polanski’s adaptation of Ira Levin’s best-selling novel (produced by genre legend William Castle) still chills with its tale of a young woman (Mia Farrow) who slowly discovers a devilish conspiracy around her.
• Anthology Film Archives (32 Second Avenue) is having a special Halloween midnight show tonight...
- 10/31/2008
- Fangoria
The sermon of the inanimate is such that objects of art speak through the memories emotionally invested in them. And yet the shift of objects from daily usage to museum display via estate bequest is a transition rarely recorded in film. In their museum settings, empty vases thirst for water and flowers; paintings recall affectionate placement on the walls of homes and their daily dalliance with shifting angles of window light; artist notebooks plead not to be torn apart and auctioned off a page at a time. The circle that is the art of collecting holds its breath at being broken and then resigns itself to the cursory glances of museum crowds. In a surprising turnabout from the Hollywood B-movie homage of Boarding Gate, Olivier Assayas offers up in L’Heure d’été (Summer Hours) a film that feels distinctly European, unquestionably French, imbued with refined, cultured nuance. As Michael Hawley...
- 9/10/2008
- by Michael Guillen
- Screen Anarchy
By Michael Atkinson
I'm sorry, but if my choices are superheroes, Sarah Jessica Parker's handbag materialism, Ashton Kutcher, learn-to-love-again indies and an Adam Sandler comedy that couldn't even muster enough jokes for a two-minute trailer, then I'll stay home and have a conversation with Chris Marker. I'll at least be assured of having truthful contact with a real human consciousness, of having learned, of having been made aware of cultural connections no other artist would make and of bearing witness to first-hand history. An integral soldier in the French New Wave, Marker is famous here only for "La Jetée" (1962), the beloved all-stills time travel mega-short that was remade by Terry Gilliam as "12 Monkeys." Though he's remained a prolific manufacturer of cinema into his 80s, he's never been a meta-acrobat like Godard and Resnais and Rivette, nor a romantic ironist like Truffaut or Rohmer or Demy, and it's been virtually impossible to see his films,...
I'm sorry, but if my choices are superheroes, Sarah Jessica Parker's handbag materialism, Ashton Kutcher, learn-to-love-again indies and an Adam Sandler comedy that couldn't even muster enough jokes for a two-minute trailer, then I'll stay home and have a conversation with Chris Marker. I'll at least be assured of having truthful contact with a real human consciousness, of having learned, of having been made aware of cultural connections no other artist would make and of bearing witness to first-hand history. An integral soldier in the French New Wave, Marker is famous here only for "La Jetée" (1962), the beloved all-stills time travel mega-short that was remade by Terry Gilliam as "12 Monkeys." Though he's remained a prolific manufacturer of cinema into his 80s, he's never been a meta-acrobat like Godard and Resnais and Rivette, nor a romantic ironist like Truffaut or Rohmer or Demy, and it's been virtually impossible to see his films,...
- 6/10/2008
- by Michael Atkinson
- ifc.com
By Neil Pedley
Sxsw recently concluded a week-long unveiling of some of the best and brightest new talent that indie film has to offer, but that didn't deter established players from forging ahead with the fine traditions that have this week brought us an Owen Wilson kiddie comedy, a poker mockumentary and an imitation of whatever Asian cinema was doing four years ago.
"Boarding Gate"
Three-time Palme D'Or nominee Olivier Assayas delivers a sleek and sexually charged thriller that stars the irresistible Asia Argento as a gal on the run from Europe to Asia as she indulges in affairs with both Michael Madsen's high-flying financier and the hit man sent to target him. If you can take your eyes off of Argento, keep one eye open for a supporting turn by Sonic Youth's Kim Gordon.
Opens in limited release.
"Drillbit Taylor"
Judd Apatow tries to appeal to the...
Sxsw recently concluded a week-long unveiling of some of the best and brightest new talent that indie film has to offer, but that didn't deter established players from forging ahead with the fine traditions that have this week brought us an Owen Wilson kiddie comedy, a poker mockumentary and an imitation of whatever Asian cinema was doing four years ago.
"Boarding Gate"
Three-time Palme D'Or nominee Olivier Assayas delivers a sleek and sexually charged thriller that stars the irresistible Asia Argento as a gal on the run from Europe to Asia as she indulges in affairs with both Michael Madsen's high-flying financier and the hit man sent to target him. If you can take your eyes off of Argento, keep one eye open for a supporting turn by Sonic Youth's Kim Gordon.
Opens in limited release.
"Drillbit Taylor"
Judd Apatow tries to appeal to the...
- 3/17/2008
- by Neil Pedley
- ifc.com
- Here are Ioncinema.com's suggested movie viewing & film events for the next seven: ------------------------------------------ Thursday / Feb 14th------------------------------------------Cupid is shooting arrows and pointing to the BAMcinématek. Valentine's Day means dinner and a movie. They are sold out of the combo that included three course dinner plus His Girl Friday - but you can still grab tickets for the film. ------------------------------------------ Friday / Feb 15th ------------------------------------------Sharpen your French speaking skills. Double header @ the Walter Reade theater. Film Comment Selects presents IFC presents Jacques Rivette's The Duchess of Langeais and Olivier Assayas' Boarding Gate. ------------------------------------------Saturday / Feb 16th ------------------------------------------Prep for the Oscars categories that not many give any thought to and if you win you Oscar pool by one point it may be because you picked right in the Short film category. Magnolia Pictures recommends a ten short film buffet with The 2007 Academy Award-Nominated Short Films in limited release. See IFC Centre listings here.
- 2/14/2008
- IONCINEMA.com
- It happens to be one of those week where we are getting tons of movie poster images. Just the way we like it. Here we have a pair from Magnolia Pictures - first off we have the Cannes selected newest pic from the filmmaker behind Irma Vep and Demonlover. To be release via Magnet Releasing this coming March, Boarding Gate sees the spunky Asia Argento play sexy ex-prostitute Sandra, who is forced to flee London after a steamy S&M encounter with a debt-ridden ex-lover (Michael Madsen) ends in violence. Fleeing to Hong Kong in search of a fresh start, she becomes involved with an attractive young couple, Lester (Carl Ng) and Sue (Kelly Lin), who promise to help her obtain papers and money. But nothing turns out as expected for Sandra, and she finds herself trapped in a sordid game of manipulation. Seeing that I'm a big fan of U.
- 2/7/2008
- IONCINEMA.com
TORONTO -- Todd Wagner and Mark Cuban's Magnolia Pictures is stepping up its game with a new genre label, Magnet.
Magnet's first film out of the gate will be Jeremy Saulnier's comic slasher film Murder Party, set for a brief theatrical release before an October DVD bow. Among those ready for a 2008 release include Hitoshi Matsumoto's Toronto International Film Festival Midnight Madness selection Big Man in Japan; Tony Smith's Viking actioner Severed Ways; Ringo Lam, Johnny To and Tsui Hark's Hong Kong action omnibus Triangle; Mark Hartley's Australian genre film docu Not Quite Hollywood; and Olivier Assayas' thriller Boarding Gate, starring Asia Argento and Michael Madsen.
Magnolia president Eamonn Bowles said that he wanted to brand and label his already extensive slate of well-reviewed genre films, including The Host and District B13.
"These are not trashy genre films. The market has grown up," he added. The slate will include acquisitions, production prebuys and projects produced in-house for theatrical or DVD release.
Wagner already has stated his desire to give Magnolia higher-budgeted projects, and Bowles said some of those likely will go through Magnet, given the strong sales genre titles have garnered on his Magnolia Home Entertainment label.
Magnet's first film out of the gate will be Jeremy Saulnier's comic slasher film Murder Party, set for a brief theatrical release before an October DVD bow. Among those ready for a 2008 release include Hitoshi Matsumoto's Toronto International Film Festival Midnight Madness selection Big Man in Japan; Tony Smith's Viking actioner Severed Ways; Ringo Lam, Johnny To and Tsui Hark's Hong Kong action omnibus Triangle; Mark Hartley's Australian genre film docu Not Quite Hollywood; and Olivier Assayas' thriller Boarding Gate, starring Asia Argento and Michael Madsen.
Magnolia president Eamonn Bowles said that he wanted to brand and label his already extensive slate of well-reviewed genre films, including The Host and District B13.
"These are not trashy genre films. The market has grown up," he added. The slate will include acquisitions, production prebuys and projects produced in-house for theatrical or DVD release.
Wagner already has stated his desire to give Magnolia higher-budgeted projects, and Bowles said some of those likely will go through Magnet, given the strong sales genre titles have garnered on his Magnolia Home Entertainment label.
- 9/12/2007
- The Hollywood Reporter - Movie News
- Olivier Assayas has just presented Boarding Gate at Cannes and has walked away with a deal with MK2 to come aboard his next project. Springtime Pastwill star Juliette Binoche, Charles Berling and Jeremie Renier and the story story revolves around the family of a famous painter and the struggle to deal with his legacy after he dies.MK2 will produce the pic for $6m (Euros 4.5m) and filming will take place in Berlin. ...
- 5/18/2007
- IONCINEMA.com
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