The Critics’ Week section of the Cannes film festival has set Spanish director Rodrigo Sorogoyen as the president of the jury for its 63rd edition.
Sorogoyen is known for films including “Stockholm” in 2013, “The Candidate” in 2018, and “The Beasts” from 2022. The Beasts last year earned him the best foreign film prize at France’s Cesars awards. Sorogoyen also wrote and executive produced TV series “Antidisturbios.”
“It is a big responsibility, one that I look forward to very much,” said Sorogoyen in a Spanish-language video message posted to social media. “The Critics Week supports and rewards directors’ first and second feature films as well as short films, thus providing vital support to cinema, new voices and new ways to tell stories. Without these new voices there would be no new cinema. They’re the ones who make it live and make it work.”
Rodrigo Sorogoyen sera le Président du Jury de...
Sorogoyen is known for films including “Stockholm” in 2013, “The Candidate” in 2018, and “The Beasts” from 2022. The Beasts last year earned him the best foreign film prize at France’s Cesars awards. Sorogoyen also wrote and executive produced TV series “Antidisturbios.”
“It is a big responsibility, one that I look forward to very much,” said Sorogoyen in a Spanish-language video message posted to social media. “The Critics Week supports and rewards directors’ first and second feature films as well as short films, thus providing vital support to cinema, new voices and new ways to tell stories. Without these new voices there would be no new cinema. They’re the ones who make it live and make it work.”
Rodrigo Sorogoyen sera le Président du Jury de...
- 4/5/2024
- by Patrick Frater
- Variety Film + TV
Directors are lining up left and right each month to share their favorite films from the TCM lineup, and the latest is Jason Reitman. He follows Steven Spielberg going deep on “Meet Me in St. Louis,” Martin Scorsese praising “Madonna of the Seven Moons,” Guillermo del Toro making the case why overlooked “Suspicion” is top-tier Hitchcock, and so many more.
IndieWire simply loves directors sharing their favorite films and paying tribute to the directors and screenwriters behind them. And that enthusiasm comes across loud and clear in “SNL 1975” director Reitman’s picks. First up, Reitman, whose always had an ear for dialogue himself, talks about what’s so great about the patter in Barry Levinson’s “Diner.”
“[‘Diner’] is probably one of the best first movies for a filmmaker of all time,” Reitman said. “And the dialogue is delicious. You can’t look at a Quentin Tarantino movie and...
IndieWire simply loves directors sharing their favorite films and paying tribute to the directors and screenwriters behind them. And that enthusiasm comes across loud and clear in “SNL 1975” director Reitman’s picks. First up, Reitman, whose always had an ear for dialogue himself, talks about what’s so great about the patter in Barry Levinson’s “Diner.”
“[‘Diner’] is probably one of the best first movies for a filmmaker of all time,” Reitman said. “And the dialogue is delicious. You can’t look at a Quentin Tarantino movie and...
- 4/2/2024
- by Christian Blauvelt
- Indiewire
Actor David McKnight, best known for his lead role in the 1976 blaxploitation horror movie J.D.’s Revenge, as well as brief parts in TV hits such as The Commish and Boston Legal, has died. He was 87. According to his friend and publicist Cynthia Busby, per The Hollywood Reporter, McKnight passed away on Sunday (December 3) in Las Vegas, Nevada, after a battle with cancer. Born on July 2, 1936, in Mound Bayou, Mississippi, McKnight served in the U.S. Army and worked as a police officer before he began his acting career. One of his first on-screen roles came in 1970 when he starred on Wttw Chicago’s Birds of the Iron Feather, the first all-Black TV soap opera. His career took off from there, appearing in films such as The Candidate (1972) and Lifeguard (1976) before landing the lead role of J.D. Walker in Arthur Marks’ cult favorite J.D.’s Revenge in 1976. Throughout the 1980s, McKnight featured in various TV series,...
- 12/8/2023
- TV Insider
Victor J. Kemper, the former president of the American Society of Cinematographers whose career spanned four decades and included films as diverse as Dog Day Afternoon and Pee Wee’s Big Adventure, has died according to the ASC. He was 96.
Kemper made films with many of the greats of ’70s cinema, including John Cassavetes, Arthur Hiller, Michael Ritchie, Peter Yates, Sidney Lumet, George Roy Hill, Robert Wise, Carl Reiner, Richard Attenborough and Norman Jewison.
His very first film was Cassavetes’ Husbands, and it was an education in itself.
“We shot more than a million-and-a-half feet of film during 10 weeks in New York and 12 weeks in London,” Kemper recalled. “That’s the way Cassavetes worked.”
He went on to make Mikey & Nicky with the director.
Subsequent work included The Candidate, And Justice for All, Audrey Rose, Slap Shot, Oh God!, The Gambler, The Jerk, The Four Seasons, Coma, Mr. Mom, Pee Wee’s Big Adventure,...
Kemper made films with many of the greats of ’70s cinema, including John Cassavetes, Arthur Hiller, Michael Ritchie, Peter Yates, Sidney Lumet, George Roy Hill, Robert Wise, Carl Reiner, Richard Attenborough and Norman Jewison.
His very first film was Cassavetes’ Husbands, and it was an education in itself.
“We shot more than a million-and-a-half feet of film during 10 weeks in New York and 12 weeks in London,” Kemper recalled. “That’s the way Cassavetes worked.”
He went on to make Mikey & Nicky with the director.
Subsequent work included The Candidate, And Justice for All, Audrey Rose, Slap Shot, Oh God!, The Gambler, The Jerk, The Four Seasons, Coma, Mr. Mom, Pee Wee’s Big Adventure,...
- 11/29/2023
- by Tom Tapp
- Deadline Film + TV
Victor J. Kemper, the veteran cinematographer who shot more than 50 features, including Dog Day Afternoon, Eyes of Laura Mars, The Jerk and Slap Shot, has died. He was 96.
Kemper died Monday of natural causes in Sherman Oaks, his son, Steven Kemper, told The Hollywood Reporter.
Kemper earned his inaugural D.P. credit on Husbands (1970), written and directed by John Cassavetes, then shot Elia Kazan’s final feature, The Last Tycoon (1976) and Tim Burton’s first, Pee-wee’s Big Adventure (1985).
Kemper also did six films for director Arthur Hiller — The Tiger Makes Out (1967), The Hospital (1971), Author! Author! (1982), The Lonely Guy (1984), See No Evil, Hear No Evil (1989) and Married to It (1991) — and three in a row for Carl Reiner: Oh God! (1977), The One and Only (1978) and The Jerk (1979).
The New Jersey native said he had to wear ice skates when he photographed the hockey scenes in George Roy Hill’s Slap Shot (1977) and...
Kemper died Monday of natural causes in Sherman Oaks, his son, Steven Kemper, told The Hollywood Reporter.
Kemper earned his inaugural D.P. credit on Husbands (1970), written and directed by John Cassavetes, then shot Elia Kazan’s final feature, The Last Tycoon (1976) and Tim Burton’s first, Pee-wee’s Big Adventure (1985).
Kemper also did six films for director Arthur Hiller — The Tiger Makes Out (1967), The Hospital (1971), Author! Author! (1982), The Lonely Guy (1984), See No Evil, Hear No Evil (1989) and Married to It (1991) — and three in a row for Carl Reiner: Oh God! (1977), The One and Only (1978) and The Jerk (1979).
The New Jersey native said he had to wear ice skates when he photographed the hockey scenes in George Roy Hill’s Slap Shot (1977) and...
- 11/29/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
The Europe-Latin American Co-Production Forum and Wip Latam industry events are showcasing a wealth of new projects.
The Europe-Latin American Co-Production Forum and Wip Latam industry events are showcasing a selection of upcoming projects from Latin America to potential international partners at San Sebastian this month. Regional trends and financing models will also be in the spotlight.
Fifteen titles are in the Forum - from 222 submissions - and six films will showing a first cut in the Wip section. Both sections will take place from September 25-27.
There is a strong showing from Argentina in the Forum, despite the country’s long-running instability,...
The Europe-Latin American Co-Production Forum and Wip Latam industry events are showcasing a selection of upcoming projects from Latin America to potential international partners at San Sebastian this month. Regional trends and financing models will also be in the spotlight.
Fifteen titles are in the Forum - from 222 submissions - and six films will showing a first cut in the Wip section. Both sections will take place from September 25-27.
There is a strong showing from Argentina in the Forum, despite the country’s long-running instability,...
- 9/22/2023
- by Emilio Mayorga
- ScreenDaily
Argentina’s Tarea Fina, a producer on Cannes Camera d’Or winner “Las Acacias,” International Oscar entry “The Sleepwalkers” and Ventana Sur hit “Sublime,” has boarded “A Loose End,” the third feature as a director from Uruguay’s Daniel Hendler, a Berlin Silver Bear winner for Best Actor in Daniel Burman’s 2004 international breakout “The Lost Embrace.”
Set up at Montevideo’s Cordon Films, founded in 2007 by producer-tv director Micaela Solé and Hendler, “A Loose End” (“Un cabo suelto”) is one of the highest-profile projects announced on Monday by the San Sebastián Festival as part of its Europe-Latin America Co-Production Forum, its industry centerpiece.
Written by Hendler, his third directorial outing returns to a central theme in his first two features as a writer-director: Identity. In his 2011 debut, “Norberto’s Deadline,” a loser real estate agent discovers his true calling and more confidence as an actor.
2017’s “The Candidate,” a Miami Festival best director winner,...
Set up at Montevideo’s Cordon Films, founded in 2007 by producer-tv director Micaela Solé and Hendler, “A Loose End” (“Un cabo suelto”) is one of the highest-profile projects announced on Monday by the San Sebastián Festival as part of its Europe-Latin America Co-Production Forum, its industry centerpiece.
Written by Hendler, his third directorial outing returns to a central theme in his first two features as a writer-director: Identity. In his 2011 debut, “Norberto’s Deadline,” a loser real estate agent discovers his true calling and more confidence as an actor.
2017’s “The Candidate,” a Miami Festival best director winner,...
- 8/16/2023
- by John Hopewell
- Variety Film + TV
Multi-prized Latin American directors Federico Veiroj, Theo Court, Alicia Scherson and Daniel Hendler head a muscular project lineup at September’s San Sebastian Europe-Latin America Co-Production Forum, the Spanish festival’s industry centerpiece which underscores this year a welling sea-change in the region’s filmmaking.
“The Moneychanger,” the latest film from Uruguay’s Veiroj, was selected for Toronto’s 2019 Platform; “White on White,” from Chile’s Court, won a best director Silver Lion at 2019’s Venice Horizons; Chile’s Alicia Scherson’s debut “Play” snagged new narrative director at Tribeca in 2005: multi-hyphenate Hendler, from Uruguay, scooped best director at Miami for “The Candidate” in 2017.
Also making the cut are Mexico’s Juan Pablo González and Ana Isabel Fernández, director and co-writer of 2022 Sundance Special Jury Prize winner “Dos Estaciones.” Ezequiel Yanco’s “La vida en común” took best documentary at the Biarritz Latin American Festival in 2019.
Mixing top cineasts...
“The Moneychanger,” the latest film from Uruguay’s Veiroj, was selected for Toronto’s 2019 Platform; “White on White,” from Chile’s Court, won a best director Silver Lion at 2019’s Venice Horizons; Chile’s Alicia Scherson’s debut “Play” snagged new narrative director at Tribeca in 2005: multi-hyphenate Hendler, from Uruguay, scooped best director at Miami for “The Candidate” in 2017.
Also making the cut are Mexico’s Juan Pablo González and Ana Isabel Fernández, director and co-writer of 2022 Sundance Special Jury Prize winner “Dos Estaciones.” Ezequiel Yanco’s “La vida en común” took best documentary at the Biarritz Latin American Festival in 2019.
Mixing top cineasts...
- 8/14/2023
- by John Hopewell and Emiliano De Pablos
- Variety Film + TV
It’s hard to think of a less suspenseful set-up than the one writer-director Rodrigo Sorogoyen took on for his nail-biting new feature, The Beasts (As Bestas), which swept last year’s Goya awards in Spain.
In a tiny village lost in the hills of Galicia, a French couple has decided to restart their lives as organic farmers, selling produce at the town market while fixing up abandoned old houses in their downtime. The wife, Olga (Marina Foïs), and husband, Antoine (Denis Ménochet), are a gentle and thoughtful middle-aged pair, concerned by environmental issues and adept enough in Spanish to do business with the locals.
And yet, from its very first minute, this searing drama of rural strife, xenophobia and cultural hostility is filled with almost unbearable tension — a tension that boils over as Olga and Antoine clash with a pair of native-born brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido...
In a tiny village lost in the hills of Galicia, a French couple has decided to restart their lives as organic farmers, selling produce at the town market while fixing up abandoned old houses in their downtime. The wife, Olga (Marina Foïs), and husband, Antoine (Denis Ménochet), are a gentle and thoughtful middle-aged pair, concerned by environmental issues and adept enough in Spanish to do business with the locals.
And yet, from its very first minute, this searing drama of rural strife, xenophobia and cultural hostility is filled with almost unbearable tension — a tension that boils over as Olga and Antoine clash with a pair of native-born brothers, Xan (Luis Zahera) and Lorenzo (Diego Anido...
- 7/24/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Kendall Roy’s new watch on the latest and final season of Succession is hardly a quiet luxury.
The Roy scion — who on earlier seasons favored timepieces by more traditional makers like Vacheron Constantin and Patek Philippe — is now rocking a much flashier item on his wrist: a sporty Rm 67-01 by Richard Mille that qualifies as a ten-table watch (meaning a watch that’s ostentatious enough to be noticeable by people 10 tables away at a restaurant).
Richard Mille Rm 67-01
The watch is hardly there by mistake. Its presence signals the new chapter in Kendall’s life as he and brother Roman take the reins of their father’s company, and it was personally chosen by actor Jeremy Strong after an exec at Richard Mille sent it to him. “Those are all things that I do on my own because those details just feel really important to me, and...
The Roy scion — who on earlier seasons favored timepieces by more traditional makers like Vacheron Constantin and Patek Philippe — is now rocking a much flashier item on his wrist: a sporty Rm 67-01 by Richard Mille that qualifies as a ten-table watch (meaning a watch that’s ostentatious enough to be noticeable by people 10 tables away at a restaurant).
Richard Mille Rm 67-01
The watch is hardly there by mistake. Its presence signals the new chapter in Kendall’s life as he and brother Roman take the reins of their father’s company, and it was personally chosen by actor Jeremy Strong after an exec at Richard Mille sent it to him. “Those are all things that I do on my own because those details just feel really important to me, and...
- 5/27/2023
- by Degen Pener
- The Hollywood Reporter - Movie News
Walter Coblenz, the Oscar- and Emmy-nominated producer behind All the President’s Men and nearly two dozen other titles, died on March 16, aged 93. A cause of death has not been disclosed.
Born in Germany in 1928, Coblenz claimed his first and only Oscar nom in 1977 for the aforementioned Alan J. Pakula film, which was up for Best Picture and seven other awards, winning four including Best Supporting Actor, Best Writing, Screenplay Based on Material from Another Medium, Art Direction-Set Decoration and Sound. Coblenz’s nomination came three years after he landed an Emmy nom for his work on NBC’s limited series The Blue Knight.
Over the course of his career, he also produced such titles as Her Majesty, Money Talks, The Babe, 18 Again!, For Keeps?, Sister, Sister, SpaceCamp, Strange Invaders, The Legend of the Lone Ranger, The Onion Field and The Candidate, along with a number of TV movies.
Coblenz...
Born in Germany in 1928, Coblenz claimed his first and only Oscar nom in 1977 for the aforementioned Alan J. Pakula film, which was up for Best Picture and seven other awards, winning four including Best Supporting Actor, Best Writing, Screenplay Based on Material from Another Medium, Art Direction-Set Decoration and Sound. Coblenz’s nomination came three years after he landed an Emmy nom for his work on NBC’s limited series The Blue Knight.
Over the course of his career, he also produced such titles as Her Majesty, Money Talks, The Babe, 18 Again!, For Keeps?, Sister, Sister, SpaceCamp, Strange Invaders, The Legend of the Lone Ranger, The Onion Field and The Candidate, along with a number of TV movies.
Coblenz...
- 4/2/2022
- by Matt Grobar
- Deadline Film + TV
Walter Coblenz, the Oscar-nominated producer behind “All the President’s Men” and the Emmy-nominated limited series “The Blue Knight,” has died. He was 93.
Coblenz, who served as the senior vice president of Tristar Pictures and Carolco Pictures, oversaw productions on such titles as “Terminator 2: Judgment Day,” “The Natural,” “Places in the Heart” and more. His other notable credits include “The Candidate,” “The Onion Field,” “Money Talks,” “The Legend of the Lone Ranger” and “Her Majesty.”
He garnered an Emmy nomination for producing the drama miniseries “The Blue Knight,” about a veteran Los Angeles cop.
Coblenz died March 16, his son said in a statement.
Beginning his career in Hollywood as a stage manager for “The Jerry Lewis Show” and “The Hollywood Palace,” Coblenz later served as an assistant director on the series “Daktari” and Robert Redford and Gene Hackman-starring sports drama “Downhill Racer.” He later reunited with Redford on “All the President’s Men,...
Coblenz, who served as the senior vice president of Tristar Pictures and Carolco Pictures, oversaw productions on such titles as “Terminator 2: Judgment Day,” “The Natural,” “Places in the Heart” and more. His other notable credits include “The Candidate,” “The Onion Field,” “Money Talks,” “The Legend of the Lone Ranger” and “Her Majesty.”
He garnered an Emmy nomination for producing the drama miniseries “The Blue Knight,” about a veteran Los Angeles cop.
Coblenz died March 16, his son said in a statement.
Beginning his career in Hollywood as a stage manager for “The Jerry Lewis Show” and “The Hollywood Palace,” Coblenz later served as an assistant director on the series “Daktari” and Robert Redford and Gene Hackman-starring sports drama “Downhill Racer.” He later reunited with Redford on “All the President’s Men,...
- 4/2/2022
- by Natalie Oganesyan
- The Wrap
Walter Coblenz, who was Oscar-nominated for producing “All the President’s Men” and also produced “The Candidate” and “The Onion Field,” died March 16. He was 93.
Coblenz also produced the Emmy-nominated Joseph Wambaugh TV mini-series adaptation “The Blue Knight.”
After serving as assistant director and production manager on Robert Redford’s “Downhill Racer,” he went on to work with Redford on “The Candidate” and “All the Presidents Men,” which racked up eight Oscar nominations and four wins.
Coblenz served as Sr. V.P. of production at both Tri-Star Pictures and Carolco Pictures, where he oversaw production on films including “The Natural.” “Places in the Heart,” “Terminator 2,” “The Doors” and “Rambling Rose.”
His other producing credits include “Money Talks,” “Her Majesty,” “The Babe” and “18 Again.”
Born in Germany, Koblenz came to the U.S. as a child and graduated from the University of Houston. He began his career as a camera...
Coblenz also produced the Emmy-nominated Joseph Wambaugh TV mini-series adaptation “The Blue Knight.”
After serving as assistant director and production manager on Robert Redford’s “Downhill Racer,” he went on to work with Redford on “The Candidate” and “All the Presidents Men,” which racked up eight Oscar nominations and four wins.
Coblenz served as Sr. V.P. of production at both Tri-Star Pictures and Carolco Pictures, where he oversaw production on films including “The Natural.” “Places in the Heart,” “Terminator 2,” “The Doors” and “Rambling Rose.”
His other producing credits include “Money Talks,” “Her Majesty,” “The Babe” and “18 Again.”
Born in Germany, Koblenz came to the U.S. as a child and graduated from the University of Houston. He began his career as a camera...
- 4/2/2022
- by Pat Saperstein
- Variety Film + TV
“Why can’t he learn how to give a better speech?” With the State of the Union address looming next month, Joe Biden’s Hollywood critics and supporters increasingly ask that question as they see his approval ratings tank even as his policies gain favor.
Talk with Michael Douglas, Robert Redford, Warren Beatty and others who have portrayed U.S. presidents and political climbers during their careers and they all describe their intense self-training in presidential cadence and elocution. Even Ronald Reagan habitually consulted coach Michael Deaver (and wife Nancy), while Lyndon Johnson demanded the presence of director Franklin Schaffner. They worked hard at it.
“A presidential speech today is like seeing a Marvel movie with no action,” observes filmmaker Barry Levinson. In his hilarious 1997 movie Wag the Dog, a desperate president hires political hustlers, played by Dustin Hoffman and Robert De Niro, to drum up a fake political crisis...
Talk with Michael Douglas, Robert Redford, Warren Beatty and others who have portrayed U.S. presidents and political climbers during their careers and they all describe their intense self-training in presidential cadence and elocution. Even Ronald Reagan habitually consulted coach Michael Deaver (and wife Nancy), while Lyndon Johnson demanded the presence of director Franklin Schaffner. They worked hard at it.
“A presidential speech today is like seeing a Marvel movie with no action,” observes filmmaker Barry Levinson. In his hilarious 1997 movie Wag the Dog, a desperate president hires political hustlers, played by Dustin Hoffman and Robert De Niro, to drum up a fake political crisis...
- 2/3/2022
- by Peter Bart
- Deadline Film + TV
The lineup for the 2021 Cannes Acid has been announced. See also the full lineups of the Official Selection, Directors' Fortnight and Critics’ Week.AyaFEATURE FILMSAya (Simon Coulibaly Gillard)The Candidate (Thomas Paulot)A Corsican Summer (Pascal Tagnati)Down With The King (Diego Ongaro)Ghost Town (Nicolas Peduzzi)Little Palestine, Diary Of A Siege (Abdallah Al-Khatib)Soy Libre (Laure Portier)Vedette (Claudine Bories, Patrice Chagnard)Venus By The Water (Lin Wan)...
- 6/8/2021
- MUBI
A full picture of the Cannes Film Festival is now coming into focus with the unveiling of the Directors’ Fortnight lineup. Following the Official Selection and the Critics’ Week lineups, this sidebar features Joanna Hogg’s highly-anticipated sequel The Souvenir Part II, as well as new films by Miguel Gomes, Jonas Carpignano, Clio Barnard, Pietro Marcello, Alice Rohrwacher, Matías Piñeiro, and more.
See below.
Features
A Chiara (Jonas Carpignano)
Ali & Ava (Clio Barnard)
Between Two Worlds (Emmanuel Carrère)
The Braves (Anaïs Volpé)
A Brighter Tomorrow (Yassine Qnia)
Clara Sola (Nathalie Álvarez Mesen)
The Employer and the Employee (Manuel Nieto)
Europa (Haider Rashid)
Futura
Întregalde (Radu Muntean)
The Hill where Lionesses Roar (Luàna Bajrami)
Hit the Road (Panah Panahi)
Magnetic Beats (Vincent Cardona)
Medusa (Anita Rocha da Silveira)
Murina (Antoneta Alamat Kusijanović)
Neptune Frost
A Night of Knowing Nothing (Payal Kapadia)
Our Men (Rachel Lang)
Returning to Reims (Fragments) (Jean-Gabriel Périot...
See below.
Features
A Chiara (Jonas Carpignano)
Ali & Ava (Clio Barnard)
Between Two Worlds (Emmanuel Carrère)
The Braves (Anaïs Volpé)
A Brighter Tomorrow (Yassine Qnia)
Clara Sola (Nathalie Álvarez Mesen)
The Employer and the Employee (Manuel Nieto)
Europa (Haider Rashid)
Futura
Întregalde (Radu Muntean)
The Hill where Lionesses Roar (Luàna Bajrami)
Hit the Road (Panah Panahi)
Magnetic Beats (Vincent Cardona)
Medusa (Anita Rocha da Silveira)
Murina (Antoneta Alamat Kusijanović)
Neptune Frost
A Night of Knowing Nothing (Payal Kapadia)
Our Men (Rachel Lang)
Returning to Reims (Fragments) (Jean-Gabriel Périot...
- 6/8/2021
- by Jordan Raup
- The Film Stage
Past attendees include Oscar-nominated Tunisian director Kaouther Ben Hania, Berlinale Golden Bear winner Radu Jude.
France’s Association for the Diffusion of Independent Cinema (Acid) has unveiled the nine independent features it will be showcasing in its parallel Cannes section this July.
International features include Belgium-based director Simon Coulibaly Gillard’s debut feature Aya. It revolves around a young girl whose life in a coastal village in the southern Ivory Coast is threatened by rising sea waters.
The selection also features Syria-born Palestinian filmmaker Abdullah Al Khateeb’s documentary Little Palestine, Diary Of A Siege about life in the Palestinian...
France’s Association for the Diffusion of Independent Cinema (Acid) has unveiled the nine independent features it will be showcasing in its parallel Cannes section this July.
International features include Belgium-based director Simon Coulibaly Gillard’s debut feature Aya. It revolves around a young girl whose life in a coastal village in the southern Ivory Coast is threatened by rising sea waters.
The selection also features Syria-born Palestinian filmmaker Abdullah Al Khateeb’s documentary Little Palestine, Diary Of A Siege about life in the Palestinian...
- 6/8/2021
- by Melanie Goodfellow
- ScreenDaily
I’ve written here before about my fondness for director Michael Ritchie, particularly his streak in the 1970s when he made one great movie after another about the dark side of the American competitive spirit. Most of his best films – Downhill Racer (1969), The Candidate (1972), The Bad News Bears (1976) – are wry meditations on what it really means to win (and lose) in a culture where winning is valued above all else; one of the most memorable moments in all of his work comes at the conclusion of The Candidate, when Robert Redford’s senatorial candidate wins his election […]
The post Smile, Fast Times at Ridgemont High and Carole Lombard: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Smile, Fast Times at Ridgemont High and Carole Lombard: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 5/7/2021
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
I’ve written here before about my fondness for director Michael Ritchie, particularly his streak in the 1970s when he made one great movie after another about the dark side of the American competitive spirit. Most of his best films – Downhill Racer (1969), The Candidate (1972), The Bad News Bears (1976) – are wry meditations on what it really means to win (and lose) in a culture where winning is valued above all else; one of the most memorable moments in all of his work comes at the conclusion of The Candidate, when Robert Redford’s senatorial candidate wins his election […]
The post Smile, Fast Times at Ridgemont High and Carole Lombard: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
The post Smile, Fast Times at Ridgemont High and Carole Lombard: Jim Hemphill’s Home Video Recommendations first appeared on Filmmaker Magazine.
- 5/7/2021
- by Jim Hemphill
- Filmmaker Magazine - Blog
Making a short film is hard enough — but imagine making one on very little budget, or during the coronavirus pandemic.
On the panel titled “Telling our Stories Film Contest” at TheWrap’s Power Women Summit, six finalists of the contest presented by Starz and TheWrap delved into the challenges of making their films. The short films highlighted themes of womanhood, community and representation, and all the submissions were from women and gender-nonconforming filmmakers of color. All six finalists — which were chosen out of 1,100 submissions evaluated by industry professionals — will see their work on Starz, with the winner receiving a $10,000 prize.
One finalist, Jazmin Johnson, wrote and directed “Sounds of War,” which depicts her thoughts as a young Black woman in America. She said she made her movie over the summer, right after George Floyd’s death and in the middle of the Covid-19 pandemic.
ShanRica Evans wrote and directed “Clarissa,...
On the panel titled “Telling our Stories Film Contest” at TheWrap’s Power Women Summit, six finalists of the contest presented by Starz and TheWrap delved into the challenges of making their films. The short films highlighted themes of womanhood, community and representation, and all the submissions were from women and gender-nonconforming filmmakers of color. All six finalists — which were chosen out of 1,100 submissions evaluated by industry professionals — will see their work on Starz, with the winner receiving a $10,000 prize.
One finalist, Jazmin Johnson, wrote and directed “Sounds of War,” which depicts her thoughts as a young Black woman in America. She said she made her movie over the summer, right after George Floyd’s death and in the middle of the Covid-19 pandemic.
ShanRica Evans wrote and directed “Clarissa,...
- 12/10/2020
- by Beatrice Verhoeven
- The Wrap
The writer/director of Martha Marcy May Marlene and The Nest takes hosts Josh Olson and Joe Dante on an exploration of his favorite cinematic endings.
Show Notes: Movies Referenced In This Episode
Martha Marcy May Marlene (2011)
The Nest (2020)
Citizen Kane (1941)
The Cowboys (1972)
The Parallax View (1974)
Three Days of the Condor (1975)
Limbo (1999)
Nashville (1975)
The Long Goodbye (1973)
3 Women (1977)
Chinatown (1974)
Some Like It Hot (1959)
The Third Man (1949)
Do The Right Thing (1989)
Ace Ventura: Pet Detective (1994)
Our Idiot Brother (2011)
Shoot The Moon (1982)
Parasite (2019)
The Wild Bunch (1969)
The Ice Storm (1997)
Kramer Vs. Kramer (1979)
The Brood (1979)
The Graduate (1967)
Who’s Afraid of Virginia Woolf? (1966)
The Candidate (1972)
The Sixth Sense (1999)
The Birds (1963)
The Firm (1989)
Scum (1979)
The Firm (2009)
The Vanishing (1988)
The Vanishing (1993)
Rosemary’s Baby (1968)
Repulsion (1965)
Pirates (1986)
What? (1972)
Blowup (1966)
Blow Out (1981)
The Long Good Friday (1980)
Other Notable Items
Jude Law
Carrie Coon
Quentin Tarantino
John Wayne
The Pure Cinema Podcast
The Film Forum
Warren Beatty
Tfh Guru Howard...
Show Notes: Movies Referenced In This Episode
Martha Marcy May Marlene (2011)
The Nest (2020)
Citizen Kane (1941)
The Cowboys (1972)
The Parallax View (1974)
Three Days of the Condor (1975)
Limbo (1999)
Nashville (1975)
The Long Goodbye (1973)
3 Women (1977)
Chinatown (1974)
Some Like It Hot (1959)
The Third Man (1949)
Do The Right Thing (1989)
Ace Ventura: Pet Detective (1994)
Our Idiot Brother (2011)
Shoot The Moon (1982)
Parasite (2019)
The Wild Bunch (1969)
The Ice Storm (1997)
Kramer Vs. Kramer (1979)
The Brood (1979)
The Graduate (1967)
Who’s Afraid of Virginia Woolf? (1966)
The Candidate (1972)
The Sixth Sense (1999)
The Birds (1963)
The Firm (1989)
Scum (1979)
The Firm (2009)
The Vanishing (1988)
The Vanishing (1993)
Rosemary’s Baby (1968)
Repulsion (1965)
Pirates (1986)
What? (1972)
Blowup (1966)
Blow Out (1981)
The Long Good Friday (1980)
Other Notable Items
Jude Law
Carrie Coon
Quentin Tarantino
John Wayne
The Pure Cinema Podcast
The Film Forum
Warren Beatty
Tfh Guru Howard...
- 11/10/2020
- by Kris Millsap
- Trailers from Hell
We told you. Remember the rules. You didn’t listen. Now we’re Back with an all new batch of guest recommendations featuring Blake Masters, Julien Nitzberg, Floyd Norman, Tuppence Middleton and Blaire Bercy.
Please support the Hollywood Food Coalition. Text “Give” to 323.402.5704 or visit https://hofoco.org/donate!
Show Notes: Movies Referenced In This Episode
The Wild Angels (1966)
Spirits of the Dead (1966)
The Trip (1967)
Mooch Goes To Hollywood (1971)
Stalker (1979)
The Candidate (1972)
The Parallax View (1974)
Network (1976)
Sweet Smell of Success (1957)
Ace In The Hole (1951)
Margin Call (2011)
Death Wish (1974)
Death Wish (2018)
Seconds (1966)
Soylent Green (1973)
Rage (1972)
Assault on Wall Street (2013)
Repo Man (1984)
Elmer Gantry (1960)
The Train (1965)
Clouds of Sils Maria (2014)
Strange Brew (1983)
To Have And Have Not (1944)
Singin’ In The Rain (1952)
Easter Parade (1948)
The Band Wagon (1953)
Guys And Dolls (1955)
On The Town (1949)
Casablanca (1942)
The Dirt Gang (1972)
Back To The Future (1985)
The Maltese Falcon (1941)
The Big Sleep (1946)
Bomba, the Jungle Boy (1949)
My Man Godfrey...
Please support the Hollywood Food Coalition. Text “Give” to 323.402.5704 or visit https://hofoco.org/donate!
Show Notes: Movies Referenced In This Episode
The Wild Angels (1966)
Spirits of the Dead (1966)
The Trip (1967)
Mooch Goes To Hollywood (1971)
Stalker (1979)
The Candidate (1972)
The Parallax View (1974)
Network (1976)
Sweet Smell of Success (1957)
Ace In The Hole (1951)
Margin Call (2011)
Death Wish (1974)
Death Wish (2018)
Seconds (1966)
Soylent Green (1973)
Rage (1972)
Assault on Wall Street (2013)
Repo Man (1984)
Elmer Gantry (1960)
The Train (1965)
Clouds of Sils Maria (2014)
Strange Brew (1983)
To Have And Have Not (1944)
Singin’ In The Rain (1952)
Easter Parade (1948)
The Band Wagon (1953)
Guys And Dolls (1955)
On The Town (1949)
Casablanca (1942)
The Dirt Gang (1972)
Back To The Future (1985)
The Maltese Falcon (1941)
The Big Sleep (1946)
Bomba, the Jungle Boy (1949)
My Man Godfrey...
- 8/14/2020
- by Kris Millsap
- Trailers from Hell
The British Film Institute’s Young Audiences Content Fund has revealed a selection of the titles on its debut slate of projects backed in the previous twelve months. They include Shudder Film’s scripted comedy from Gavin Williams and Jack Tarling, Synch Estate, and Danny Perkins’ Elysian Film Group’s teen drama Future Hot. In total, the fund has backed the development of 63 projects to date, after receiving 181 applications. The committed spend stands at £1,719,620 ($2.2M). The initiative is backing TV projects aimed at three age categories: 0-5, 6-12, and 13-18. The BFI noted that the fund continues to operate during the current pandemic.
Gunpowder & Sky’s Ott sci-fi brand Dust is expanding its scope in a deal with Channel 4’s on-demand service All 4. The service programs sci-fi short films featuring high-profile talent, including Jonah starring Daniel Kaluuya, The Candidate featuring Meghan Markle, Zero starring Bella Ramsey, Orbit Ever After starring Thomas Brodie-Sangster,...
Gunpowder & Sky’s Ott sci-fi brand Dust is expanding its scope in a deal with Channel 4’s on-demand service All 4. The service programs sci-fi short films featuring high-profile talent, including Jonah starring Daniel Kaluuya, The Candidate featuring Meghan Markle, Zero starring Bella Ramsey, Orbit Ever After starring Thomas Brodie-Sangster,...
- 5/1/2020
- by Tom Grater
- Deadline Film + TV
Ever since she slinked her way onto the screen as a con woman who befuddles her targets with her luminous sex appeal in 1990’s “The Grifters,” Annette Bening has rarely been less than memorable on the big screen no matter the quality of the movie. She was nominated for a Best Supporting Actress Oscar for that early career-making breakout performance, but lost to Whoopi Goldberg in “Ghost.”
She has since collected a trio of Academy Award bids as a lead, starting with 1999’s “American Beauty”as a nagging suburban housewife who belittles and cheats on her husband (Kevin Spacey) as he suffers through a midlife crisis.
Sign Up for Gold Derby’s free newsletter with latest predictions
Bening next was lauded for her scenery-chewing work in 2004’s “Julia” as a middle-age stage diva in 1938 London who isn’t getting the juicy roles and male attention that she desperately desires. On...
She has since collected a trio of Academy Award bids as a lead, starting with 1999’s “American Beauty”as a nagging suburban housewife who belittles and cheats on her husband (Kevin Spacey) as he suffers through a midlife crisis.
Sign Up for Gold Derby’s free newsletter with latest predictions
Bening next was lauded for her scenery-chewing work in 2004’s “Julia” as a middle-age stage diva in 1938 London who isn’t getting the juicy roles and male attention that she desperately desires. On...
- 10/30/2019
- by Susan Wloszczyna
- Gold Derby
Robert Redford will receive a career tribute at the 18th edition of the Marrakech International Film Festival.
The Marrakech fest will take place Nov. 29 to Dec. 7. As previously announced, Tilda Swinton will preside over the jury.
Redford, one of the leading figures of contemporary cinema, said it was “a great honor to be invited to Marrakech,
to meet creators and artists who will share with each other their unique voices and points of view….
“I extend my thanks to the Marrakech International Film Festival for this generous invitation,” he said in a statement.
The tribute will pay homage to Redford’s career as a director, producer, actor, activist and founder of the Sundance Institute and the Sundance Festival, the world’s first festival to be entirely dedicated to independent cinema.
Redford initially rose to fame as an actor. He landed his first starring role on Broadway in “Sunday in New York,...
The Marrakech fest will take place Nov. 29 to Dec. 7. As previously announced, Tilda Swinton will preside over the jury.
Redford, one of the leading figures of contemporary cinema, said it was “a great honor to be invited to Marrakech,
to meet creators and artists who will share with each other their unique voices and points of view….
“I extend my thanks to the Marrakech International Film Festival for this generous invitation,” he said in a statement.
The tribute will pay homage to Redford’s career as a director, producer, actor, activist and founder of the Sundance Institute and the Sundance Festival, the world’s first festival to be entirely dedicated to independent cinema.
Redford initially rose to fame as an actor. He landed his first starring role on Broadway in “Sunday in New York,...
- 10/24/2019
- by Elsa Keslassy
- Variety Film + TV
The Uruguayan Film Institute on Tuesday announced that Federico Veiroj's The Moneychanger will be the country's submission in the international feature film category of the 2020 Academy Awards.
A 1970s-set dramedy-thriller starring Uruguay's top actor-director Daniel Hendler (The Candidate, To Fool a Thief) and Argentina's Dolores Fonzi (The Summit), The Moneychanger follows protagonist Humberto Brause (Hendler), a man who furiously throws himself into the buying and selling of currency supported by his father-in-law, a veteran in the business of capital flight. Consumed by his outsized ambition and compulsive drive, Humberto assumes the direction of the family business and ...
A 1970s-set dramedy-thriller starring Uruguay's top actor-director Daniel Hendler (The Candidate, To Fool a Thief) and Argentina's Dolores Fonzi (The Summit), The Moneychanger follows protagonist Humberto Brause (Hendler), a man who furiously throws himself into the buying and selling of currency supported by his father-in-law, a veteran in the business of capital flight. Consumed by his outsized ambition and compulsive drive, Humberto assumes the direction of the family business and ...
The Uruguayan Film Institute on Tuesday announced that Federico Veiroj's The Moneychanger will be the country's submission in the international feature film category of the 2020 Academy Awards.
A 1970s-set dramedy-thriller starring Uruguay's top actor-director Daniel Hendler (The Candidate, To Fool a Thief) and Argentina's Dolores Fonzi (The Summit), The Moneychanger follows protagonist Humberto Brause (Hendler), a man who furiously throws himself into the buying and selling of currency supported by his father-in-law, a veteran in the business of capital flight. Consumed by his outsized ambition and compulsive drive, Humberto assumes the direction of the family business and ...
A 1970s-set dramedy-thriller starring Uruguay's top actor-director Daniel Hendler (The Candidate, To Fool a Thief) and Argentina's Dolores Fonzi (The Summit), The Moneychanger follows protagonist Humberto Brause (Hendler), a man who furiously throws himself into the buying and selling of currency supported by his father-in-law, a veteran in the business of capital flight. Consumed by his outsized ambition and compulsive drive, Humberto assumes the direction of the family business and ...
In a new interview with Deadline, Kristen Stewart is right to say that she wears her feelings. With each of her performances, from Olivier Assayas’ Gen-y ghost story “Personal Shopper” to Justin Kelly’s “Jt Leroy” and, now, Benedict Andrews’ “Seberg,” it feels like the actress is revealing another facet of her real self.
She’s currently at the Venice Film Festival to promote Amazon Studios’ “Seberg,” where the film will have its world premiere. In the politically charged thriller, Stewart plays ’60s New Wave icon Jean Seberg, complete with blond pixie cut, best known as New York Herald Tribune girl Patricia in Jean-Luc Godard’s “Breathless.”
However, Seberg was equally notorious at the time for her association with Black Power advocate Hakim Jamal (played here by Anthony Mackie), turning her into a target of the FBI, which already had tabs on Seberg illegally in the Hoover days through its surveillance program Cointelpro.
She’s currently at the Venice Film Festival to promote Amazon Studios’ “Seberg,” where the film will have its world premiere. In the politically charged thriller, Stewart plays ’60s New Wave icon Jean Seberg, complete with blond pixie cut, best known as New York Herald Tribune girl Patricia in Jean-Luc Godard’s “Breathless.”
However, Seberg was equally notorious at the time for her association with Black Power advocate Hakim Jamal (played here by Anthony Mackie), turning her into a target of the FBI, which already had tabs on Seberg illegally in the Hoover days through its surveillance program Cointelpro.
- 8/29/2019
- by Ryan Lattanzio
- Indiewire
Australian filmmaker Jennifer Kent will no longer be able to serve on the competition jury this month for the Venice International Film Festival, where last year she was the only woman in the competition lineup with her film “The Nightingale.”
IndieWire reached out for comment from Kent’s representatives, who said that Kent is dealing with an urgent family matter in Australia. “Due to pressing family matters in Australia, Jennifer regrets that she is unable to attend this year’s Venice Film Festival. As she loves the Venice Festival, which presented two prestigious awards to ‘The Nightingale’ last year, Jennifer has been very much looking forward to serving on the Competition Jury and hopes to return to the Lido to participate in a future edition of the Festival,” the statement said.
On the Biennale website, it was noted that Kent’s name was replaced with “American Psycho” director Mary Harron,...
IndieWire reached out for comment from Kent’s representatives, who said that Kent is dealing with an urgent family matter in Australia. “Due to pressing family matters in Australia, Jennifer regrets that she is unable to attend this year’s Venice Film Festival. As she loves the Venice Festival, which presented two prestigious awards to ‘The Nightingale’ last year, Jennifer has been very much looking forward to serving on the Competition Jury and hopes to return to the Lido to participate in a future edition of the Festival,” the statement said.
On the Biennale website, it was noted that Kent’s name was replaced with “American Psycho” director Mary Harron,...
- 8/25/2019
- by Ryan Lattanzio
- Indiewire
When Jennifer Kent’s “The Nightingale” debuted at the Venice Film Festival last year, it was the only film in competition from a woman director. Upon her return to the lauded Italian festival as a jury member, the filmmaker was dismayed to find that the numbers haven’t improved. The 2019 festival will host just two films from women directors, a whopping one more than last year. Haifaa Al-Mansour’s “The Candidate” and Shannon Murphy’s “Babyteeth” will vie for the Golden Lion at this year’s festival. Speaking to The Wrap recently, Kent, whose previous film “The Babadook” became one of the defining horror films of the century to date, made no secret of her disappointment with the dismal numbers.
“I think it’s an issue. I hoped there would be more. I really did,” Kent said. “There are some incredible women out there making films, and we need to see them,...
“I think it’s an issue. I hoped there would be more. I really did,” Kent said. “There are some incredible women out there making films, and we need to see them,...
- 7/31/2019
- by Jude Dry
- Indiewire
Same festival, different year. While this year’s Venice Film Festival includes a marked uptick in competition films directed by women, that’s only the case because last year’s numbers were so dismal: 2019 will host two competition titles directed by women, up from just one title last year. And while artistic director Alberto Barbera was eager to trot out excuses like “not enough women make movies,” he also landed on another reason why this year remains dominated by male filmmakers: Now they make movies about women, too.
At a press conference held this morning to unveil the year’s slate, Variety reports that Barbera told the assembled press, “Women directors are unfortunately still a minority. But these portraits of women, even when they are directed by men, reveal a new sensibility geared towards the feminine universe, as had rarely happened in the past. This is a signal that perhaps...
At a press conference held this morning to unveil the year’s slate, Variety reports that Barbera told the assembled press, “Women directors are unfortunately still a minority. But these portraits of women, even when they are directed by men, reveal a new sensibility geared towards the feminine universe, as had rarely happened in the past. This is a signal that perhaps...
- 7/25/2019
- by Kate Erbland
- Indiewire
"Do you really consider yourself a normal citizen?" Signature Ent. has debuted an official UK trailer for a political drama titled The Candidate, originally titled The Realm or also El Reino. This Spanish dramatic thriller is about a politician whose high-class lifestyle is based on nefarious and illegal business threatens to break his entire party after a newspaper exposes the truth to the public. Antonio de la Torre stars as an influential regional vice-secretary "who had everything in his favor to take the leap into national politics", until he gets caught up in a scandal that changes everything. Also starring Mónica López, José María Pou, Bárbara Lennie, Nacho Fresneda, Ana Wagener, Luis Zahera, Francisco Reyes, and María de Nati. This premiered at the Toronto & San Sebastian Film Festivals last year, and is getting a UK release this summer but nothing in the Us yet. Looks damn good. Perhaps a story real-life politicians should heed.
- 6/12/2019
- by Alex Billington
- firstshowing.net
Legendary American actor and director Robert Redford is set to receive an honorary Cesar award, France’s equivalent of the Oscars, at the 44th annual Cesar ceremony, which will take place Feb. 22 in Paris.
“An iconic actor, an exceptional director, a passionate producer, founder and president of Sundance, the most revered festival of independent films in the world, Robert Redford has left his mark through all his endeavors in the film world,” said Alain Terzian, the president of France’s Academy of Arts and Techniques of Cinema.
In the statement announcing Redford’s honorary Cesar, Terzian praised Redford’s career as an actor, filmmaker and philanthropist.
“Robert Redford is definitely a monument. Many of his films, in front or behind the camera, have now become classics. Rare are the careers which have had such a lasting impact on the history of cinema,” said Terzian, citing Redford’s Oscar- and Golden Globe-winning film “Ordinary People,...
“An iconic actor, an exceptional director, a passionate producer, founder and president of Sundance, the most revered festival of independent films in the world, Robert Redford has left his mark through all his endeavors in the film world,” said Alain Terzian, the president of France’s Academy of Arts and Techniques of Cinema.
In the statement announcing Redford’s honorary Cesar, Terzian praised Redford’s career as an actor, filmmaker and philanthropist.
“Robert Redford is definitely a monument. Many of his films, in front or behind the camera, have now become classics. Rare are the careers which have had such a lasting impact on the history of cinema,” said Terzian, citing Redford’s Oscar- and Golden Globe-winning film “Ordinary People,...
- 1/18/2019
- by Elsa Keslassy
- Variety Film + TV
Circle of Confusion TV Studios, a joint venture between Circle of Confusion and ITV Studios America, has partnered with Amazon Studios to develop Thirteen, an hourlong drama based on Mike Oeming and Dan Berman’s Image Comics graphic novel Six. The project hails from Stefan Jaworski (Those Who Kill), who will write, and Michael Dinner (Justified), who will direct. Circle of Confusion TV Studios will serve as the lead studio.
Thirteen is a sci-fi thriller about a cold-blooded alien agent who comes to Earth to track down and bring back 12 alien defectors. As a result of her actions, she starts to experience the same thing that infected the others – human emotion. Feeling joy, anger, love and hate for the first time in her life, she decides to stay on Earth to find the truth the twelve were seeking, before her own emotional awakening transforms and ultimately destroys her.
Jaworski, Dinner,...
Thirteen is a sci-fi thriller about a cold-blooded alien agent who comes to Earth to track down and bring back 12 alien defectors. As a result of her actions, she starts to experience the same thing that infected the others – human emotion. Feeling joy, anger, love and hate for the first time in her life, she decides to stay on Earth to find the truth the twelve were seeking, before her own emotional awakening transforms and ultimately destroys her.
Jaworski, Dinner,...
- 1/14/2019
- by Nellie Andreeva and Denise Petski
- Deadline Film + TV
“The Front Runner,” Jason Reitman’s political docudrama about the disaster that befell Gary Hart’s 1988 campaign for the presidency, is a movie that pulses with the twitchy electronic-nerve-ending hunger of mass media. Reitman, a director of up-front humanity and skill, has figured out a way to jam the contemporary American news circus into a movie, so that it buzzes with the sound of truth being sliced, diced, and packaged. “The Front Runner” has a tantalizing atmosphere of viral spin and information addiction. It’s the sort of thing I wanted more of from Steven Spielberg’s “The Post.” Reitman, in striking the tone for his movie, has learned from the best — “The Candidate” and “All the President’s Men,” and also the films of Robert Altman, with their layered POVs and soundtracks of overlapping voices that seem to anticipate the nattering narcissism of the digital era.
As a viewing experience,...
As a viewing experience,...
- 11/11/2018
- by Owen Gleiberman
- Variety Film + TV
In Jason Reitman’s films, dialogue is often the engine that drives a scene. That is certainly the case with “The Front Runner,” which follows Gary Hart’s tumultuous three-week presidential campaign in 1988, but he also wanted it to sound like like a 1970s film. Specifically, the political dramas like “All The President’s Men” and “The Candidate,” and the long-take, multi-character films of director Robert Altman (“Nashville”).
As cinematographer Eric Steelberg’s camera wove through the ensemble cast, Reitman wanted to enter and exit various conversations and feel the commotion behind the scenes.
“He wanted to hear everybody all the time in the sense [of the] normal life of a political campaign, where everybody’s just talking and working all at once,” said sound mixer Steve Morrow. “Depending on who the camera is focused on is who you’re hearing and understanding what they’re saying.”
Morrow, whose three-person team was responsible for mic’ing,...
As cinematographer Eric Steelberg’s camera wove through the ensemble cast, Reitman wanted to enter and exit various conversations and feel the commotion behind the scenes.
“He wanted to hear everybody all the time in the sense [of the] normal life of a political campaign, where everybody’s just talking and working all at once,” said sound mixer Steve Morrow. “Depending on who the camera is focused on is who you’re hearing and understanding what they’re saying.”
Morrow, whose three-person team was responsible for mic’ing,...
- 11/9/2018
- by Chris O'Falt
- Indiewire
There’s a certain perversity in the decision to open “fact-based” movies at the close of an election season. After months of political noise, facts have become something like black holes in our public conversation – rhetoric in search of truth.
Still, having been trained as a newsman, I habitually welcome films like Green Book, The Front Runner, Roma and First Man — stories forcefully based on real lives and real events. Fact-based movies offer an authenticity and verisimilitude (that ugly word from school) that are missing from Hollywood dramas like A Star Is Born. But the genre also offers its own afflictions: Films can be pedantic, or by contrast, aggressively ambiguous, and hence particularly vulnerable to critics. Pure fiction can be attacked as dopey; a fact-based movie can be dismissed as “fake news.”
The healthiest antidote to months of political noise, of course, is to avoid the genre completely and bask in vintage MGM musicals,...
Still, having been trained as a newsman, I habitually welcome films like Green Book, The Front Runner, Roma and First Man — stories forcefully based on real lives and real events. Fact-based movies offer an authenticity and verisimilitude (that ugly word from school) that are missing from Hollywood dramas like A Star Is Born. But the genre also offers its own afflictions: Films can be pedantic, or by contrast, aggressively ambiguous, and hence particularly vulnerable to critics. Pure fiction can be attacked as dopey; a fact-based movie can be dismissed as “fake news.”
The healthiest antidote to months of political noise, of course, is to avoid the genre completely and bask in vintage MGM musicals,...
- 11/8/2018
- by Peter Bart
- Deadline Film + TV
Playback is a Variety / iHeartRadio podcast bringing you conversations with the talents behind many of today’s hottest films. New episodes air every Thursday.
Jason Reitman is having a big year. Two major festival debuts from the Oscar-winning director have hit screens in 2018: Sundance player “Tully” in the spring and this week, Telluride selection “The Front Runner.” Together the two films represent an interesting evolution for Reitman, and they were made virtually on top of each other. In fact, he was in the editing suite with both at one point. A shot from “Tully” even ended up in “The Front Runner” when Reitman realized he needed something for the fall release, which tells the story of disgraced politician Gary Hart.
Listen to this week’s episode of “Playback” below. New episodes air every Thursday.
Click here for more episodes of “Playback.”
“It’s been an exciting year,” Reitman says.
Jason Reitman is having a big year. Two major festival debuts from the Oscar-winning director have hit screens in 2018: Sundance player “Tully” in the spring and this week, Telluride selection “The Front Runner.” Together the two films represent an interesting evolution for Reitman, and they were made virtually on top of each other. In fact, he was in the editing suite with both at one point. A shot from “Tully” even ended up in “The Front Runner” when Reitman realized he needed something for the fall release, which tells the story of disgraced politician Gary Hart.
Listen to this week’s episode of “Playback” below. New episodes air every Thursday.
Click here for more episodes of “Playback.”
“It’s been an exciting year,” Reitman says.
- 11/8/2018
- by Kristopher Tapley
- Variety Film + TV
With the country in the grip of midterm election fever Tuesday, Sony Pictures is opening the Hugh Jackman political drama “The Front Runner” in two theaters in Los Angeles and two in New York City.
Jason Reitman, director of “The Front Runner,” told Variety that his film is especially relevant now — even though the events in it took place 31 years ago. And he’s riveted by the current election.
“I have no idea what’s going to happen,” he admitted. “Today feels like a mystery because the country is so divided. The movie asks questions that are very timely — about how we consume news and what is relevant versus what is private.”
Jackman brings Gary Hart to life as a charismatic presidential candidate whose campaign crashes and burns in 1987, thanks to the revelation of an extramarital relationship with Donna Rice. The Miami Herald newspaper followed Rice on a flight from Miami to Washington,...
Jason Reitman, director of “The Front Runner,” told Variety that his film is especially relevant now — even though the events in it took place 31 years ago. And he’s riveted by the current election.
“I have no idea what’s going to happen,” he admitted. “Today feels like a mystery because the country is so divided. The movie asks questions that are very timely — about how we consume news and what is relevant versus what is private.”
Jackman brings Gary Hart to life as a charismatic presidential candidate whose campaign crashes and burns in 1987, thanks to the revelation of an extramarital relationship with Donna Rice. The Miami Herald newspaper followed Rice on a flight from Miami to Washington,...
- 11/6/2018
- by Dave McNary
- Variety Film + TV
As you may have heard, there’s an election today. Its importance is impossible to overstate no matter which side of the political aisle you’re on, and Bill Hader thinks you’d be “a moron” not to vote. Our imperfect electoral system has inspired many great movies over the years, a few of which celebrate it but most of which either lampoon it or show how vulnerable it is. After you, being the responsible citizen you clearly are, fulfill your civic duty by voting in the midterm election today, take a break from anxiously watching the results by watching one of these 10 films instead.
“All the President’s Men”
The soft glow of Deep Throat’s cigarette in a shadowy garage; Ben Bradlee’s (Jason Robards) “Okay we go with it” order to Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) as his elevator doors lightly close in...
“All the President’s Men”
The soft glow of Deep Throat’s cigarette in a shadowy garage; Ben Bradlee’s (Jason Robards) “Okay we go with it” order to Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) as his elevator doors lightly close in...
- 11/6/2018
- by Michael Nordine, Kate Erbland, Christian Blauvelt, Jude Dry and David Ehrlich
- Indiewire
We live in a time where the foibles of political candidates receive round-the-clock coverage, and on Election Day Sony will release Jason Reitman’s “The Front Runner,” a film about the man who started it all. Hugh Jackman portrays former Colorado Senator and 1988 presidential candidate Gary Hart, who saw his fortunes crash from presidential favorite to political pariah in a single week.
At early festival showings at Telluride and Toronto, “The Front Runner” generated mixed critical reactions (Metacritic: 65) as it roused audiences to debate its provocative concerns about campaign transparency and gender politics: Could Bill Clinton be a good president, even though he had a sexual relationship with White House intern Monica Lewinsky? Did Hart’s demise stem from hubris, the tabloid press, political skullduggery, or some combination of these?
“I’m trying to figure this out for myself, like most people are,” Reitman said. “That’s what makes it...
At early festival showings at Telluride and Toronto, “The Front Runner” generated mixed critical reactions (Metacritic: 65) as it roused audiences to debate its provocative concerns about campaign transparency and gender politics: Could Bill Clinton be a good president, even though he had a sexual relationship with White House intern Monica Lewinsky? Did Hart’s demise stem from hubris, the tabloid press, political skullduggery, or some combination of these?
“I’m trying to figure this out for myself, like most people are,” Reitman said. “That’s what makes it...
- 11/5/2018
- by Anne Thompson
- Thompson on Hollywood
We live in a time where the foibles of political candidates receive round-the-clock coverage, and on Election Day Sony will release Jason Reitman’s “The Front Runner,” a film about the man who started it all. Hugh Jackman portrays former Colorado Senator and 1988 presidential candidate Gary Hart, who saw his fortunes crash from presidential favorite to political pariah in a single week.
At early festival showings at Telluride and Toronto, “The Front Runner” generated mixed critical reactions (Metacritic: 65) as it roused audiences to debate its provocative concerns about campaign transparency and gender politics: Could Bill Clinton be a good president, even though he had a sexual relationship with White House intern Monica Lewinsky? Did Hart’s demise stem from hubris, the tabloid press, political skullduggery, or some combination of these?
“I’m trying to figure this out for myself, like most people are,” Reitman said. “That’s what makes it...
At early festival showings at Telluride and Toronto, “The Front Runner” generated mixed critical reactions (Metacritic: 65) as it roused audiences to debate its provocative concerns about campaign transparency and gender politics: Could Bill Clinton be a good president, even though he had a sexual relationship with White House intern Monica Lewinsky? Did Hart’s demise stem from hubris, the tabloid press, political skullduggery, or some combination of these?
“I’m trying to figure this out for myself, like most people are,” Reitman said. “That’s what makes it...
- 11/5/2018
- by Anne Thompson
- Indiewire
To dramatize the scandal-ridden ups and downs of the current presidential administration is to consider all manner of genres: Python-esque satire, journalism drama, social-issue tragedy, gilded ’80s-style sex thriller, even dystopian mind-screw. Is it even possible to tell the story of a rise and fall like Gary Hart’s — smart politician felled by a combination of personal arrogance and journalistically exploited national prurience — without the whole thing seeming morally quaint, like storybook time during a home invasion?
The answer is no, albeit an entertaining no, if the example is Jason Reitman’s “The Front Runner,” his self-consciously on-point, briskly enjoyable version of the three weeks in 1988 that took the Colorado senator from shoo-in for the Democratic presidential nomination to ousted cautionary tale after allegations surfaced regarding his extramarital affair with Donna Rice. The film’s assets are like an attractive party platform for discerning moviegoers: wonderful actors, crisp dialogue, and...
The answer is no, albeit an entertaining no, if the example is Jason Reitman’s “The Front Runner,” his self-consciously on-point, briskly enjoyable version of the three weeks in 1988 that took the Colorado senator from shoo-in for the Democratic presidential nomination to ousted cautionary tale after allegations surfaced regarding his extramarital affair with Donna Rice. The film’s assets are like an attractive party platform for discerning moviegoers: wonderful actors, crisp dialogue, and...
- 11/5/2018
- by Robert Abele
- The Wrap
Hugh Jackman was last seen on screen in “The Greatest Showman,” but there’s no show business like political business. He moves on from P.T. Barnum to former senator Gary Hart in director Jason Reitman’s “The Front Runner,” which premiered over the weekend at the Telluride Film Festival, and which could give the actor his second Oscar nomination, after he vied for 2013’s “Les Miserables.”
Jackman comes off as such a warm character in real life — as he did in “Showman” — that you might spend half a second wondering: Can he go chilly enough to convincingly play a one-time presidential candidate who didn’t always seem like the model of transparency and mirth? And then you remember: Oh, right, he is the Wolverine — so whether he’s dealing with a sex scandal or retractable knives in his knuckles, he can play a guy with big, haunting secrets to hide.
Jackman comes off as such a warm character in real life — as he did in “Showman” — that you might spend half a second wondering: Can he go chilly enough to convincingly play a one-time presidential candidate who didn’t always seem like the model of transparency and mirth? And then you remember: Oh, right, he is the Wolverine — so whether he’s dealing with a sex scandal or retractable knives in his knuckles, he can play a guy with big, haunting secrets to hide.
- 9/4/2018
- by Chris Willman
- Gold Derby
There are plenty of films on display here at the Telluride Film Festival this weekend with strong political connections such as documentaries like Charles Ferguson’s multi-part Watergate – Or How We Learned To Stop An Out-of-Control President (any similarity to present-day is clearly intentional); Ed Zwick’s Trial By Fire which strongly advocates for changes in the Texas criminal justice system and is a movie former Governor and current Trump cabinet secretary Rick Perry will not be pleased with; Reversing Roe (an argument against politicizing abortion); and even Universal’s Neil Armstrong film, First Man which caused an absurdly ridiculous dust-up on the internet (from Marco Rubio among others who haven’t seen it) that it was not paying proper respect to the planting of the American flag on the moon.
The latter is truly an absurd, politically motivated charge for a superb film from director Damien Chazelle that, otherwise,...
The latter is truly an absurd, politically motivated charge for a superb film from director Damien Chazelle that, otherwise,...
- 9/2/2018
- by Pete Hammond
- Deadline Film + TV
Robert Redford has announced his retirement from acting after nearly 60 years on screen. Here is a look at his top 20 feature films, according to IMDb user ratings. How many have you seen?
1. 'The Sting' (1973): 8.3
2. 'Butch Cassidy and the Sundance Kid' (1969): 8.1
3. 'All the President's Men' (1976): 8
4. 'Captain America: The Winter Soldier' (2014): 7.8
5. 'Jeremiah Johnson' (1972): 7.6
6. 'Three Days of the Condor' (1975): 7.5
7. 'The Natural' (1984): 7.5
8. 'A Bridge Too Far' (1977): 7.4
9. 'A River Runs Through It' (1992): 7.3
10. 'The Chase' (1966): 7.3
11. 'Out of Africa' (1985): 7.2
12. 'Sneakers' (1992): 7.1
13. 'Spy Game' (2001): 7.1
14. 'The Way We Were' (1973): 7.1
15. 'This Property Is Condemned' (1966): 7.1
16. 'Brubaker' (1980): 7.1
17. 'The Candidate' (1972): 7.1
18. 'An Unfinished Life' (2005): 7
19. 'Barefoot in the Park' (1967): 7
20. 'All Is Lost' (2013): 6.9
Ranking correct as of Aug. 7, 2018.
1. 'The Sting' (1973): 8.3
2. 'Butch Cassidy and the Sundance Kid' (1969): 8.1
3. 'All the President's Men' (1976): 8
4. 'Captain America: The Winter Soldier' (2014): 7.8
5. 'Jeremiah Johnson' (1972): 7.6
6. 'Three Days of the Condor' (1975): 7.5
7. 'The Natural' (1984): 7.5
8. 'A Bridge Too Far' (1977): 7.4
9. 'A River Runs Through It' (1992): 7.3
10. 'The Chase' (1966): 7.3
11. 'Out of Africa' (1985): 7.2
12. 'Sneakers' (1992): 7.1
13. 'Spy Game' (2001): 7.1
14. 'The Way We Were' (1973): 7.1
15. 'This Property Is Condemned' (1966): 7.1
16. 'Brubaker' (1980): 7.1
17. 'The Candidate' (1972): 7.1
18. 'An Unfinished Life' (2005): 7
19. 'Barefoot in the Park' (1967): 7
20. 'All Is Lost' (2013): 6.9
Ranking correct as of Aug. 7, 2018.
- 8/7/2018
- IMDb News
On June 29, 1972, Warner Bros. hosted the world premiere of Robert Redford's political drama The Candidate at Sutton Theater in New York. The film went on to be nominated for two Oscars at the 45th Academy Awards, claiming a win for its screenplay. The Hollywood Reporter's original review is below:
Few films could be more neatly timed for the political convention season than Warner Bros.' The Candidate, a Redford-Ritchie production starring Robert Redford as a liberal aspirant to the U.S. Senate, and with Michael Ritchie in the director's chair. The two had teamed before, of ...
Few films could be more neatly timed for the political convention season than Warner Bros.' The Candidate, a Redford-Ritchie production starring Robert Redford as a liberal aspirant to the U.S. Senate, and with Michael Ritchie in the director's chair. The two had teamed before, of ...
- 6/29/2018
- The Hollywood Reporter - Movie News
On June 29, 1972, Warner Bros. hosted the world premiere of Robert Redford's political drama The Candidate at Sutton Theater in New York. The film went on to be nominated for two Oscars at the 45th Academy Awards, claiming a win for its screenplay. The Hollywood Reporter's original review is below:
Few films could be more neatly timed for the political convention season than Warner Bros.' The Candidate, a Redford-Ritchie production starring Robert Redford as a liberal aspirant to the U.S. Senate, and with Michael Ritchie in the director's chair. The two had teamed before, of ...
Few films could be more neatly timed for the political convention season than Warner Bros.' The Candidate, a Redford-Ritchie production starring Robert Redford as a liberal aspirant to the U.S. Senate, and with Michael Ritchie in the director's chair. The two had teamed before, of ...
- 6/29/2018
- The Hollywood Reporter - Film + TV
15 Israeli docs chosen from 78 submissions for main Competition.
Docaviv, the Tel Aviv International Documentary Film Festival, has announced the line-up of its 20th edition from May 17 to 26.
Fifteen documentaries will screen in the Israeli Competition, including the world premiere of Tali Shemesh and Asaf Sudr’s The Candidate which follows politician Moshe Kahlon on his path to a ministerial office in 2015.
There are a further eight world premieres including Tal Hake’s Dudu Tassa & The Kuwaitis, about an Arab-Israeli band as they support Radiohead on its Us tour.
Also screening in competition is the Israeli premiere of Iris Zaki’s...
Docaviv, the Tel Aviv International Documentary Film Festival, has announced the line-up of its 20th edition from May 17 to 26.
Fifteen documentaries will screen in the Israeli Competition, including the world premiere of Tali Shemesh and Asaf Sudr’s The Candidate which follows politician Moshe Kahlon on his path to a ministerial office in 2015.
There are a further eight world premieres including Tal Hake’s Dudu Tassa & The Kuwaitis, about an Arab-Israeli band as they support Radiohead on its Us tour.
Also screening in competition is the Israeli premiere of Iris Zaki’s...
- 3/28/2018
- by Ben Dalton
- ScreenDaily
This week’s episode of Philip K. Dick’s Electric Dreams appears to have come at a perfect time. With the shady practices of prying into our privacy to understand us, even if we agree to it or not, the Governments of the world have shown the ability to shape how we think. In an extreme version of this practice, Kill All Others looks at what happens to the people who don’t buy into the message of conformity.
When Philbert Noyce (Mel Rodriguez) watches The Candidate (Vera Farmiga) talk on television on why she is the only one to run the country he is shocked to see and hear the message “Kill All Others”. Seemingly the only person to see it, it is not long before he begins to notice something is not right about the world around him.
Philbert is an outsider, he hasn’t bought into the...
When Philbert Noyce (Mel Rodriguez) watches The Candidate (Vera Farmiga) talk on television on why she is the only one to run the country he is shocked to see and hear the message “Kill All Others”. Seemingly the only person to see it, it is not long before he begins to notice something is not right about the world around him.
Philbert is an outsider, he hasn’t bought into the...
- 3/22/2018
- by Paul Metcalf
- Nerdly
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