Exclusive: Upcoming Filipino crime drama series Sellblock has wrapped principal photography and is headed for MIPTV. You can see four first-look images above.
Slated as a three-season series, Sellblock chronicles the activities of one of Asia’s biggest drug empires operating from inside a Philippines maximum-security prison. LA’s Blue Fox Entertainment has boarded the show and will launch it at the final ever MIPTV next week in Cannes, France.
The series is produced by Manilla-based BlackOps Studios Asia, headed by Pedring Lopez, who is known for Netflix’s Maria, Darkroom and Geisha of Death and also leads Psyops8. Lopez directs all eight episodes of the first season.
Blue Fox is handling sales, including the Philippines, and will be screening the pilot episode for buyers at MIPTV as it moves into TV distribution. Filipino producer Abs-cbn was initially attached to the show, but we hear it is no longer involved.
Slated as a three-season series, Sellblock chronicles the activities of one of Asia’s biggest drug empires operating from inside a Philippines maximum-security prison. LA’s Blue Fox Entertainment has boarded the show and will launch it at the final ever MIPTV next week in Cannes, France.
The series is produced by Manilla-based BlackOps Studios Asia, headed by Pedring Lopez, who is known for Netflix’s Maria, Darkroom and Geisha of Death and also leads Psyops8. Lopez directs all eight episodes of the first season.
Blue Fox is handling sales, including the Philippines, and will be screening the pilot episode for buyers at MIPTV as it moves into TV distribution. Filipino producer Abs-cbn was initially attached to the show, but we hear it is no longer involved.
- 4/3/2024
- by Jesse Whittock
- Deadline Film + TV
Filipino actress Jaclyn Jose, best known for her role in Brillante Mendoza’s indie feature Ma’ Rosa, which nabbed her the Best Actress gong at Cannes, has died. Jose — who was born Mary Jane Guck — was 60.
Jose’s reps at Ppl Entertainment confirmed the news with a statement on their Instagram account, stating the actress died “on the morning of March 2, 2024, due to myocardial infarction or a heart attack.”
“We would like to thank everyone who has extended their prayers and condolences thus far. As our family is trying to come to terms with this unfortunate incident, please provide us the respect and privacy to grieve,” the statement said. “We hope this will put all speculations to rest.”
Jose’s daughter Andi Eigenmann, an actress best known for working predominantly in the Philippines, shared a statement alongside Ppl Entertainment’s announcement.
“Her undeniable legacy will definitely forever live on through her work,...
Jose’s reps at Ppl Entertainment confirmed the news with a statement on their Instagram account, stating the actress died “on the morning of March 2, 2024, due to myocardial infarction or a heart attack.”
“We would like to thank everyone who has extended their prayers and condolences thus far. As our family is trying to come to terms with this unfortunate incident, please provide us the respect and privacy to grieve,” the statement said. “We hope this will put all speculations to rest.”
Jose’s daughter Andi Eigenmann, an actress best known for working predominantly in the Philippines, shared a statement alongside Ppl Entertainment’s announcement.
“Her undeniable legacy will definitely forever live on through her work,...
- 3/6/2024
- by Zac Ntim
- Deadline Film + TV
Co-winner of Locarno's video competition, Brillante Mendoza's feature debut was a testament to what was about to follow, although truth is, this film seems even more daring than his next ones.
20-year-old Iliac works at a gay massage/prostitution parlor in order to support his family after his father left them. As the movie begins, his father has just died, and the young man has to return to his hometown to take care of the funeral rituals along with his mother, Naty, who does not seem to care that her husband has previously abandoned them. In the parlor, he may not be the most asked-for employee but just the previous night, he ended up “servicing” a romance novelist, who had a real impact on him, in contrast to his girlfriend, who seems distant.
Mendoza creates an intriguing narrative which is essentially a constant montage between the events in the parlor and the funeral proceedings,...
20-year-old Iliac works at a gay massage/prostitution parlor in order to support his family after his father left them. As the movie begins, his father has just died, and the young man has to return to his hometown to take care of the funeral rituals along with his mother, Naty, who does not seem to care that her husband has previously abandoned them. In the parlor, he may not be the most asked-for employee but just the previous night, he ended up “servicing” a romance novelist, who had a real impact on him, in contrast to his girlfriend, who seems distant.
Mendoza creates an intriguing narrative which is essentially a constant montage between the events in the parlor and the funeral proceedings,...
- 4/27/2023
- by Panos Kotzathanasis
- AsianMoviePulse
Filipino filmmaker Jun Robles Lana has bagged the Best Director Award for his 12th feature film “Kalel, 15” at PÖFF|Tallinn Black Nights Film Festival, that also brings him a grant of 5000€. The film had its world premiere in the Estonian capital where it was screened in the official selection marked by a very strong presence of Asian films. In their statement, the jury quoted, among other, Lana’s ability to make a passionate and concerned film about lives we never see in the West.
“Kalel, 15” is screening at Tallinn Black Nights
When he gets diagnosed with HIV, the 15-year-old Kalel (Elijah Canlas) is with his mother Edith (Jaclyn Jose) who is more concerned about what the neighbours would say if they found out than about her son’s health. Riding back home on the coach, the boy is sitting silently through a wave of his mother’s insults, refusing to answer any of the questions.
“Kalel, 15” is screening at Tallinn Black Nights
When he gets diagnosed with HIV, the 15-year-old Kalel (Elijah Canlas) is with his mother Edith (Jaclyn Jose) who is more concerned about what the neighbours would say if they found out than about her son’s health. Riding back home on the coach, the boy is sitting silently through a wave of his mother’s insults, refusing to answer any of the questions.
- 12/1/2019
- by Marina D. Richter
- AsianMoviePulse
'In the Fade' with Diane Kruger: Fatih Akin's German-language Avenging Woman drama may give its star the chance to become next awards season Isabelle Huppert. Diane Kruger: 2017–2018 awards season's Isabelle Huppert? The 2003 Cannes Film Festival's Female Revelation Chopard Trophy winner, Diane Kruger was Cannes' 2017 Best Actress winner for Fatih Akin's In the Fade / Aus dem Nichts. If Akin's German drama finds a U.S. distributor before the end of the year, Kruger could theoretically become the Isabelle Huppert of the 2017–2018 awards season – that is, in case the former does become a U.S. critics favorite while we stretch things a bit regarding the Kruger-Huppert commonalities. Just a bit, as both are European-born Best Actress Cannes winners who have been around for a while (in Huppert's case, for quite a while). Perhaps most importantly, like Huppert in Paul Verhoeven's Elle, Kruger plays a woman out for revenge in In the Fade. Diane Kruger-Isabelle Huppert 'differences' There is, however, one key difference between the two characters: in Elle, Huppert wants to avenge her own rape; in In the Fade, Kruger wants to avenge the death of her Turkish husband (Numan Acar) and their son (Rafael Santana) at the hands of white supremacist terrorists. Another key difference, this time about the Kruger-Huppert Cannes Film Festival connection: although Isabelle Huppert became a U.S. critics favorite – and later a Best Actress Oscar nominee – for her performance in Elle, her (unanimous) Best Actress Cannes win was for another movie, Michael Haneke's The Piano Teacher / La pianiste back in 2001. At that time, Huppert also became a U.S. critics favorite (winning Best Actress honors in San Diego and San Francisco; a runner-up in Los Angeles and New York), but, perhaps because of the psychological drama's sexually charged nature, she failed to receive a matching Oscar nod. Last year's Cannes Best Actress, by the way, was Jaclyn Jose for Brillante Mendoza's Philippine drama Ma' Rosa. Huppert had been in contention as well, as Elle was in the running for the Palme d'Or. Diane Kruger Best Actress Oscar nomination chances? A Best Actress nomination for Diane Kruger at the German Academy Awards (a.k.a. Lolas) – for her first German-language starring role – is all but guaranteed. Curiously, that would be her first. As for a Best Actress Oscar nod, that's less certain. For starters, unlike the mostly well-reviewed Elle, In the Fade has sharply divided critics. The Hollywood Reporter, for one, summarized Akin's film as a “thriller made riveting by an emotional performance from Diane Kruger,” while The Guardian's Peter Bradshaw called it a “mediocre revenge drama” with “a not particularly good” star turn. Besides, since the year 2000 just one “individual” Best Actress Cannes winner has gone on to receive an Oscar nomination for the same performance: Rooney Mara*, who, though one of the two leads in Todd Haynes' Carol (2011), was shortlisted in the Oscars' Best Supporting Actress category so as not to compete with her co-star and eventual Best Actress nominee Cate Blanchett. Then there's the special case of Penélope Cruz; the 2006 Best Actress Oscar nominee – for Pedro Almodóvar's Volver – was a Cannes winner as part of that family comedy-drama ensemble†. And finally, despite their Cannes Best Actress win for performances in (at least partly) English-language films, no less than seven other actresses have failed to be shortlisted for the Academy Awards this century. Björk, Dancer in the Dark (2000). Maggie Cheung, Clean (2004). Hanna Laslo, Free Zone (2005). Charlotte Gainsbourg, Antichrist (2009). Juliette Binoche, Certified Copy (2010). Kirsten Dunst, Melancholia (2011). Julianne Moore, Maps to the Stars (2014). Coincidentally, that same year Moore starred in Still Alice, which eventually earned her the Best Actress Oscar. Warner Bros. will be distributing In the Fade in Germany later this year. Regarding the Oscars, whether late in 2017 or late in 2018, seems like it would be helpful if Diane Kruger got a hold of Isabelle Huppert's – and/or Marion Cotillard's and Jean Dujardin's – U.S.-based awards season publicists. * Rooney Mara shared the 2011 Cannes Film Festival Best Actress Award with Emmanuelle Bercot for My King / Mon roi. † Also in the Cannes-winning Volver ensemble: Carmen Maura, Lola Dueñas, Blanca Portillo, Chus Lampreave, and Yohana Cobo. 'The Beguiled' trailer: Colin Farrell cast in the old Clint Eastwood role in Sofia Coppola's readaptation of Civil War-set, lust & circumstance drama. Sofia Coppola ends Cannes female drought About 13 years ago, Sofia Coppola became the first American woman to be shortlisted for the Best Director Academy Award – for the Tokyo-set drama Lost in Translation, starring Bill Murray and Scarlett Johansson. Coppola eventually lost in that category to Peter Jackson for the blockbuster The Lord of the Rings: The Return of the King, but she did take home that year's Best Original Screenplay Oscar statuette. There haven't been any other Oscar nominations since, but her father-daughter drama Somewhere, toplining Stephen Dorff and Elle Fanning, was the controversial Golden Lion winner at the 2010 Venice Film Festival. This year, Coppola has become only the second woman to win the Cannes Film Festival's Best Director Award – for The Beguiled, an American Civil War-set drama based on Thomas P. Cullinan's 1966 novel of the same name (originally published as A Painted Devil). With shades of Rumer Godden's Black Narcissus, The Beguiled follows a wounded Union soldier as he finds refuge at a girls' boarding school in Virginia. Sexual tension and assorted forms of pathological behavior ensue. Tenuous Cannes-Oscar Best Director connection From 2000 to 2016, 20 filmmakers† have taken home the Cannes Film Festival's Best Director Award. Of these, only four have gone on to receive matching Best Director Oscar nominations – but no wins: David Lynch, Mulholland Dr. (2001). Alejandro González Iñárritu, Babel (2006). Julian Schnabel, The Diving Bell and the Butterfly (2007). Bennett Miller, Foxcatcher (2014). Four other Cannes Best Director winners were bypassed by the Academy even though their movies featured – at least a sizable chunk of – English-language dialogue: Joel Coen, The Man Who Wasn't There§ (2001). Paul Thomas Anderson, Punch-Drunk Love (2002). Gus Van Sant, Elephant (2004). Nicolas Winding Refn, Drive (2011). In other words, a Best Director Cannes Film Festival win is no guarantee of a Best Director Academy Award nomination. Ultimately, Sofia Coppola's chances of an Oscar nod in the Best Director category depend on how well The Beguiled is received among Los Angeles and New York film circles, and how commercially successful – for an “arthouse movie” – it turns out to be. † During that period, there were three Cannes Film Festival Best Director ties: 2001: Joel Coen for The Man Who Wasn't There§ & David Lynch for Mulholland Dr. 2002: Im Kwon-taek for Painted Fire & Paul Thomas Anderson for Punch-Drunk Love. 2016: Cristian Mungiu for Graduation & Olivier Assayas for Personal Shopper. Both films opened in the U.S. in spring 2017 and may thus be eligible for the upcoming awards season. § Ethan Coen co-directed The Man Who Wasn't There, but didn't receive credit in that capacity. 'The Beguiled' with Nicole Kidman. The Best Actress Oscar winner ('The Hours,' 2002) had two movies in the Cannes Film Festival's Official Competition; the other one was 'The Killing of the Secret Deer,' also with Colin Farrell. Moreover, Kidman was the recipient of Cannes' special 70th Anniversary Prize. 'Sly' & 'elegant' Also adapted by Sofia Coppola, The Beguiled will be distributed in the U.S. by Oscar veteran Focus Features (Brokeback Mountain, The Danish Girl). The film has generally received positive notices – e.g., “sly” and “elegant” in the words of Time magazine's Stephanie Zacharek – and could well become a strong awards season contender in various categories. The cast includes The Killing of a Sacred Deer actors Nicole Kidman and Colin Farrell, in addition to Kirsten Dunst (the star of Coppola's Marie Antoinette), Somewhere actress Elle Fanning, Oona Laurence, Addison Riecke, Angourie Rice, and Emma Howard. As an aside, Cullinan's novel also served as the basis for Don Siegel's The Beguiled (1971), a Southern Gothic effort adapted by Irene Kamp and former Hollywood Ten member Albert Maltz. In the cast of what turned out to be a major box office flop: Clint Eastwood, Geraldine Page, Elizabeth Hartman, and Jo Ann Harris. Women directors at Cannes & the Oscars For the record, Soviet filmmaker Yuliya Solntseva was the Cannes Film Festival's first Best Director winner, for The Story of the Flaming Years back in 1961. The only woman to have directed a Palme d'Or winner is Jane Campion, for The Piano (1993). Early in 1994, Campion became the second woman to be shortlisted for an Academy Award in the Best Director category. The first one was Lina Wertmüller for Seven Beauties (1976). 'A Gentle Night' & 'Montparnasse Bienvenue' Qiu Yang's short film Palme d'Or winner A Gentle Night should be automatically eligible for the 2018 Academy Awards. But competition, as usual, will be fierce. In the last decade, the only short film Palme d'Or winner to have received an Oscar nomination is Juanjo Giménez Peña's Timecode (2016), in the Best Live Action Short Film category. This article was originally published at Alt Film Guide (http://www.altfg.com/).
- 6/21/2017
- by Steph Mont.
- Alt Film Guide
“From Afar”
On Monday, December 12th, the last two films from the 85 qualified submissions in the Best Foreign Language Film race were screen for voters, which means the 9-film shortlist, comprised of six popular choices and three executive votes, will soon be announced. Unlike previous years in which a clear frontrunner had been established early on in the season, this year the competition feels wide open even if there are so unquestionable favorites.
Europe’s dominance continues with films such as the acclaimed “Toni Erdmann,” which is the closest to a frontrunner there is, Almodovar’s “Julieta,” France’s “Elle,” and Denmark’s “Land of Mine.” Latin America put forward a weaker pack of films than in year’s prior while still having a couple marvels in competition. Asia, including the Middle East, and Africa, each have a handful of films that could surprise and shake the Eurocentric category for a change.
On Monday, December 12th, the last two films from the 85 qualified submissions in the Best Foreign Language Film race were screen for voters, which means the 9-film shortlist, comprised of six popular choices and three executive votes, will soon be announced. Unlike previous years in which a clear frontrunner had been established early on in the season, this year the competition feels wide open even if there are so unquestionable favorites.
Europe’s dominance continues with films such as the acclaimed “Toni Erdmann,” which is the closest to a frontrunner there is, Almodovar’s “Julieta,” France’s “Elle,” and Denmark’s “Land of Mine.” Latin America put forward a weaker pack of films than in year’s prior while still having a couple marvels in competition. Asia, including the Middle East, and Africa, each have a handful of films that could surprise and shake the Eurocentric category for a change.
- 12/13/2016
- by Carlos Aguilar
- Sydney's Buzz
The distributor has acquired Us rights from Films Distribution to Brillante Mendoza’s Philippines Oscar submission.
Ma’ Rosa received its world premiered in Cannes where it earned Jaclyn Jose the best actress award.
The film takes place against the backdrop of police corruption as parents of a poor family in Manila sells drugs on the side to make ends meet.
First Run Features is planning a spring 2017 release.
Julio Diaz, Andi Eigenmann, Felix Roco, Mercedes Cabral, Jomari Angeles, Maria Isabel Lopez, Inna Tuason and Baron Geisler round out the key cast.
Marc Mauceri of First Run Features brokered the deal with Nicolas Brigaud-Robert of Films Distribution.
Ma’ Rosa received its world premiered in Cannes where it earned Jaclyn Jose the best actress award.
The film takes place against the backdrop of police corruption as parents of a poor family in Manila sells drugs on the side to make ends meet.
First Run Features is planning a spring 2017 release.
Julio Diaz, Andi Eigenmann, Felix Roco, Mercedes Cabral, Jomari Angeles, Maria Isabel Lopez, Inna Tuason and Baron Geisler round out the key cast.
Marc Mauceri of First Run Features brokered the deal with Nicolas Brigaud-Robert of Films Distribution.
- 11/3/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Quick takes from the 60th London Film Festival, with public screenings from October 5th-16th, 2016.
Ma’ Rosa
From acclaimed Filipino director Brillante Mendoza comes an electrifying tale of enterprising Rosa (Jaclyn Jose), whose shanty of a shop in the slums of Manila resells candy from the supermarket and crystal meth from the local dealer, and the night her store is raided by police looking for their piece of the drug business. And so, from a back room at a police station, Rosa — who has been arrested along with her husband, Nestor (Julio Diaz), who’s a bit useless — negotiates with the cops over giving up her “ice” contact while her three eldest children (in their teens and early 20s) hustle around friends and family trying to raise the “bail” — ie, bribe — money that will secure their parents’ release. Shot like a documentary, handheld cameras and long, uncut takes lend an...
Ma’ Rosa
From acclaimed Filipino director Brillante Mendoza comes an electrifying tale of enterprising Rosa (Jaclyn Jose), whose shanty of a shop in the slums of Manila resells candy from the supermarket and crystal meth from the local dealer, and the night her store is raided by police looking for their piece of the drug business. And so, from a back room at a police station, Rosa — who has been arrested along with her husband, Nestor (Julio Diaz), who’s a bit useless — negotiates with the cops over giving up her “ice” contact while her three eldest children (in their teens and early 20s) hustle around friends and family trying to raise the “bail” — ie, bribe — money that will secure their parents’ release. Shot like a documentary, handheld cameras and long, uncut takes lend an...
- 9/29/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
The submitted motion pictures must be first released theatrically in their respective countries between 1 October 2015 and 30 September 2016. The deadline for submissions is 3 October 2016.
During the latest years and after 2008, when Yojiro Takita’s “Departures” won the award, there has not been much success for Se Asian films. The only film from the region that made the final five nominations was the Cambodian “The Missing Picture”, by Rithy Path. It did not won though, and its primary language was French.
However, it is always interesting to find out which film each country considers its most worthy to win an Oscar, so here is the list of this year’s Se Asian nominations.
S. Korea chooses Warner Bros.
The Korean Film Council selected Age of Shadows. You can read all about it here.
Japan sends a Yojiro Takita’s film, once more.
The Motion Pictures Producers Association of Japan submitted Living with My Mother by Yojiro Takita.
During the latest years and after 2008, when Yojiro Takita’s “Departures” won the award, there has not been much success for Se Asian films. The only film from the region that made the final five nominations was the Cambodian “The Missing Picture”, by Rithy Path. It did not won though, and its primary language was French.
However, it is always interesting to find out which film each country considers its most worthy to win an Oscar, so here is the list of this year’s Se Asian nominations.
S. Korea chooses Warner Bros.
The Korean Film Council selected Age of Shadows. You can read all about it here.
Japan sends a Yojiro Takita’s film, once more.
The Motion Pictures Producers Association of Japan submitted Living with My Mother by Yojiro Takita.
- 9/25/2016
- by Panos Kotzathanasis
- AsianMoviePulse
As we mounted the stairs of the Red Carpet for the last time, the Closing Night Awards for the Cannes International Film Festival were announced by the Jury President, George Miller, Director of “Mad Max: Fury Road”. The eight additional members, four women and four men -- Arnaud Desplechin, Kirsten Dunst, Valeria Golino, Mads Mikkelsen, László Nemes , Vanessa Paradis, Katayoon Shahabi and Donald Sutherland presented the awards. Surprise of the evening was that the German Competition film, Maren Ade’s “Toni Erdmann”, clearly an audience favorite and snatched up immediately for the U.S. by Sony Pictures Classics, received no award at all. However, it was a great evening for IFC/ Sundance Selects who has the U.S. rights to three winners, "I, Daniel Blake", "Graduation" and "Personal Shopper".
The Palme d’Or went to Ken Loach for “I, Daniel Blake”, the sad drama of a disabled worker and of a young single mother of two who hold each other up as they try to navigate the social service morass which denies them their rightful ability to pursue happiness. The 79-year-old British director Ken Loach also won in 2006 for "The Wind that Shakes the Barley" and has had over 18 films selected for Cannes. This Sundance Selects acquisition brought audiences to wrenching tears.
“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”
Best Director Award was split between Romanian Cristian Mungiu ("Graduation" or “Bacalaureat”) and Olivier Assayas (“Personal Shopper”). Mungiu’s "4 Months, 3 Weeks, 2 Days" won the Palme d'Or in 2007. His actresses had shared the Actress prize for "Beyond the Hills." Like the Romanian 2013 Berlinale winner, “Child’s Pose” and Iranian Asghar Farhadi’s 2012 Academy Award winner, “A Separation”, the film contains object lessons about the moral choices made by humans whose actions result in greater damage than originally foreseen, especially when taking place in an already corrupted society. In this story a father tries to protect his daughter and give her the greatest opportunities for making her life better than that of her parents.
Co-winner Olivier Assayas, received his first Cannes award for "Personal Shopper" (IFC Films). This is his second English-language film starring Kristen Stewart (Cesar winner for "Clouds of Sils Maria"). As she buys fashionable attire for a rich client and tries to communicate with her twin brother, who has recently died. It was a great Cannes for Stewart, who was well-received in Woody Allen's "Cafe Society" (Amazon has U.S.) as well.
Best Screenplay went to “The Salesman” by Iranian filmmaker Asghar Farhadi (Amazon and Cohen Media Group share U.S. rights). His star, Shahab Hosseini won Best Actor his role as an actor in the midst of moving apartments and starring in Arthur Miller's "Death of a Salesman" when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. Winning the Jury Prize for the third time (!) for coming of age road movie “American Honey” (A24 has U.S.) starring Shia Labeouf and unknown Sasha Lane. British director Andrea Arnold wanted to dance as she accepted the award. Xavier Dolan, who won the 2014 Jury Prize of “Mommy” won the Grand Prix for his very theatrical "It's Only the End of the World". He cried to receive the award for his family drama starring some of the greatest French actors living today, Nathalie Baye, Vincent Cassel, Marion Cotillard, Léa Seydoux, Gaspard Ulliel. The film has no U.S. distributor yet. To my mind, the acting far outstripped the story. I am just glad the other greatest French actor, Isabelle Huppert, was not in Dolan’s film. She had her hands full in Paul Verhoeven’s “Elle” the Competition film about another woman attacked in her home by an unknown assailant. Best Actress went to Jaclyn Jose for “Ma' Rosa” by Philippine director Brillante Mendoza.
The Caméra d'Or ("Golden Camera") for the best first feature film presented in one of the Cannes' selections (Official Selection, Directors' Fortnight or International Critics' Week) went to “Divines” directed by Houda Benyamina. Houda received her award with unconcealed joy and enthusiasm. The 35 year old Franco-Moroccan film director whose long and strong speech called on women to be more present in the world of cinema said, “I was always saying that I do not care about Cannes …but today, well I’m happy to be here. Cannes belongs to us too …For things to change, you have to put a lot more women in decision-making positions…I am a committed filmmaker, making films is a way to turn my [feminist] anger into perspective…Women! Women!” she added as she broke into the Arabic women’s Ululation. Houda’s film follows an impoverished young girl who drops out of school and escapes her family in search of her own emancipation and personal freedom.
Outside of the Official Awards the winner of the Queer Palm (Feature) was "Les Vies de Thérèse" by Sébastien Lifshitz and Queer Palm (Short): "Gabber Lover" Anna Cazenave-Cambet. And finally, the Palme Dog went to Nellie for “Paterson”by Jim Jarmusch.
The Palme d’Or went to Ken Loach for “I, Daniel Blake”, the sad drama of a disabled worker and of a young single mother of two who hold each other up as they try to navigate the social service morass which denies them their rightful ability to pursue happiness. The 79-year-old British director Ken Loach also won in 2006 for "The Wind that Shakes the Barley" and has had over 18 films selected for Cannes. This Sundance Selects acquisition brought audiences to wrenching tears.
“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”
Best Director Award was split between Romanian Cristian Mungiu ("Graduation" or “Bacalaureat”) and Olivier Assayas (“Personal Shopper”). Mungiu’s "4 Months, 3 Weeks, 2 Days" won the Palme d'Or in 2007. His actresses had shared the Actress prize for "Beyond the Hills." Like the Romanian 2013 Berlinale winner, “Child’s Pose” and Iranian Asghar Farhadi’s 2012 Academy Award winner, “A Separation”, the film contains object lessons about the moral choices made by humans whose actions result in greater damage than originally foreseen, especially when taking place in an already corrupted society. In this story a father tries to protect his daughter and give her the greatest opportunities for making her life better than that of her parents.
Co-winner Olivier Assayas, received his first Cannes award for "Personal Shopper" (IFC Films). This is his second English-language film starring Kristen Stewart (Cesar winner for "Clouds of Sils Maria"). As she buys fashionable attire for a rich client and tries to communicate with her twin brother, who has recently died. It was a great Cannes for Stewart, who was well-received in Woody Allen's "Cafe Society" (Amazon has U.S.) as well.
Best Screenplay went to “The Salesman” by Iranian filmmaker Asghar Farhadi (Amazon and Cohen Media Group share U.S. rights). His star, Shahab Hosseini won Best Actor his role as an actor in the midst of moving apartments and starring in Arthur Miller's "Death of a Salesman" when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. Winning the Jury Prize for the third time (!) for coming of age road movie “American Honey” (A24 has U.S.) starring Shia Labeouf and unknown Sasha Lane. British director Andrea Arnold wanted to dance as she accepted the award. Xavier Dolan, who won the 2014 Jury Prize of “Mommy” won the Grand Prix for his very theatrical "It's Only the End of the World". He cried to receive the award for his family drama starring some of the greatest French actors living today, Nathalie Baye, Vincent Cassel, Marion Cotillard, Léa Seydoux, Gaspard Ulliel. The film has no U.S. distributor yet. To my mind, the acting far outstripped the story. I am just glad the other greatest French actor, Isabelle Huppert, was not in Dolan’s film. She had her hands full in Paul Verhoeven’s “Elle” the Competition film about another woman attacked in her home by an unknown assailant. Best Actress went to Jaclyn Jose for “Ma' Rosa” by Philippine director Brillante Mendoza.
The Caméra d'Or ("Golden Camera") for the best first feature film presented in one of the Cannes' selections (Official Selection, Directors' Fortnight or International Critics' Week) went to “Divines” directed by Houda Benyamina. Houda received her award with unconcealed joy and enthusiasm. The 35 year old Franco-Moroccan film director whose long and strong speech called on women to be more present in the world of cinema said, “I was always saying that I do not care about Cannes …but today, well I’m happy to be here. Cannes belongs to us too …For things to change, you have to put a lot more women in decision-making positions…I am a committed filmmaker, making films is a way to turn my [feminist] anger into perspective…Women! Women!” she added as she broke into the Arabic women’s Ululation. Houda’s film follows an impoverished young girl who drops out of school and escapes her family in search of her own emancipation and personal freedom.
Outside of the Official Awards the winner of the Queer Palm (Feature) was "Les Vies de Thérèse" by Sébastien Lifshitz and Queer Palm (Short): "Gabber Lover" Anna Cazenave-Cambet. And finally, the Palme Dog went to Nellie for “Paterson”by Jim Jarmusch.
- 5/27/2016
- by Sydney Levine
- Sydney's Buzz
With a jury headed up by George Miller, the 2016 Cannes Film Festival delivered their awards this weekend, giving Ken Loach his second Palme d’Or, this time for I, Daniel Blake. Meanwhile, Xavier Dolan get the runner-up for It’s Only the End of the World and Olivier Assayas tied with Cristian Mungiu for Best Director for Personal Shopper and Graduation, respectively. Asghar Farhadi’s The Salesman picked up two awards, for Best Screenplay and Best Actor, while Jaclyn Jose rounded out the top winners for Best Actress in Ma’ Rosa and American Honey grabbed the Jury Prize.
Disappointingly, some of our favorites of the festival (including Toni Erdmann, Elle, Paterson, Staying Vertical, and Sieranevada) went home empty-handed. Ahead of our personal wrap-up arriving shortly, check out the full list of winners below, including reviews where available and a 30-minute talk with the jury regarding their decisions.
Competition
Palme d’or
I,...
Disappointingly, some of our favorites of the festival (including Toni Erdmann, Elle, Paterson, Staying Vertical, and Sieranevada) went home empty-handed. Ahead of our personal wrap-up arriving shortly, check out the full list of winners below, including reviews where available and a 30-minute talk with the jury regarding their decisions.
Competition
Palme d’or
I,...
- 5/23/2016
- by Jordan Raup
- The Film Stage
Yesterday, the 2016 Cannes Film Festival wrapped up with the distribution of a number of awards. Of course, the jury, this time around led by George Miller, threw us some real curveballs, but Cannes surprises when the Palme d’Or is given out is more or less par for the course. Especially considering how this was apparently a weak year over in the South of France, I suppose odd choices were a given. Miller and company opted to go with the well received but not expected to win I, Daniel Blake, from festival favorite Ken Loach. The filmmaker is a mainstay at Cannes, so it’s not a huge shocker, but it wasn’t a win that many were predicting. My predictions were way off the mark for this year’s fest, so we’ll just pretend that they don’t exist…right? Right. Good. Now, let’s get on with things!
- 5/23/2016
- by Joey Magidson
- Hollywoodnews.com
As juror László Nemes (“Son of Saul”) said at the start of the Cannes Film Festival, juries are by their nature random. One thing you can count on is that the actors on the jury will shift the conversation. From the start, this year’s actors said they were looking for emotion. And that’s what the two top winners boast in abundance. “It was a collective decision,” said Miller of his “nine-headed beast,” describing the awards process as like creating a painting. “We looked at every variable, it’s not like ticking off a vote for the Oscars…we were looking at the awards like a totality. It took so much time, so much rigor, it was exhausting, emotionally, as everyone was talking so passionately.”
Thanks to jury chief Miller, it was Mel Gibson (whose “Blood Father” played well as a Cannes midnight movie) who presented the Palme d’Or to 79-year-old British director Ken Loach, winning for the second time (2006’s “The Wind that Shakes the Barley”); he’s won many other prizes over 18 films selected for Cannes. By far the most emotional movie of the festival, “I, Daniel Blake” (Sundance Selects) brought audiences to wrenching tears, including this writer. Based on research into England’s public welfare crisis, the film is a fictionalized story set in Newcastle about a joiner (Dave Johns) who can’t seem to convince the state to give him the disability he needs after a heart condition makes it impossible for him to work.
“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”
Read More: The 2016 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
Many critics did not respond to Loach’s overtly political film because they didn’t think he was doing anything different from what he had done before. But they really didn’t like Xavier Dolan’s very theatrical “It’s Only the End of the World,” which won the consolation prize, the Grand Prix, which means that the jury responded very differently to this heartfelt adaptation of a play about a dysfunctional family, who scream in French in extreme closeup. (Dolan won the jury prize in 2014 for “Mommy.”)
“Thank you for feeling the emotions of the film,” said Dolan (who attacked the critical reaction to his film) in a speech during which he cried, lips trembling, and chewed on his hands. Maybe it will now be picked up for the U.S., although it won’t be a crowdpleaser.
Co-winner of the director prize, Romanian Cristian Mungiu (“Graduation”), had also won the Palme d’Or, for 2007’s “4 Months, 3 Weeks, 2 Days,” and his actresses shared the Actress prize for “Beyond the Hills.” Mungiu’s “Graduation” (Sundance Selects) sends a controlling father (Adrian Titieni) into a tailspin when his long-held post-graduation plans for his daughter (Maria Dragus) go terribly awry. Mungiu points out each individual’s role in doing the right thing when corruption and compromise often rule the day.
Co-winner Olivier Assayas, on the other hand, accepted his first Cannes award for “Personal Shopper” (IFC Films), his second English-language film starring Kristen Stewart (Cesar winner for “Clouds of Sils Maria”), whose character acquires fashionable clothes for a rich client. She tries to use her skills as a medium to communicate with her twin brother, who has recently died, when mysterious texts suddenly appear on her iPhone. It was a great Cannes for Stewart, who was well-received in Woody Allen’s “Cafe Society” (Amazon) as well, and for IFC/Sundance Selects, which is releasing “I, Daniel Blake,” “Graduation” and “Personal Shopper.”
Those who thought that the women who dominated the Cannes would come home with multiple awards were sorely disappointed. British director Andrea Arnold took home the jury prize for the third time for her daring American road movie “American Honey” (A24), a coming of age story starring Shia Labeouf and unknown Sasha Lane, making Arnold three for three at the fest after 2006’s “Red Road” and 2009’s “Fish Tank.”
Critics adored the film, which was shaped by the American midwestern landscape as well as the editing room. The film was vastly different from its original script and unlike anything else at Cannes this year. “Five hours ago I was sitting in my neighbor’s garden drinking tea,” Arnold said in her acceptance speech, thanking her cast and crew for the “team effort” on their “great adventure.”
Meanwhile, critics’ fave and the winner by a mile of the Screen International Critics Poll (see below), German director Maren Ade’s exquisite father-daughter comedy “Toni Erdmann” (Sony Pictures Classics), came home empty-handed. At the jury press conference jury chief Miller cited a “passionate” and long jury deliberation (which Mikkelsen described as “difficult”) on 21 films, directors, writers and many more actors as well as arcane jury rules that demand that the top three winners cannot win a second prize. Miller and Mads Mikkelsen both stated that they judged the films on their excellence, not on the sex of who directed them. “Each film was judged on its merits,” said Miller. “Filmmaking is filmmaking. It did not come up, we were looking at other issues.”
The first-time director prize went to “Divines,” a gangster thriller and female buddy movie directed by Houda Benyamina (Director’s Fortnight).
The jury defended the choice of Best Actress Jaclyn Jose for “Ma’ Rosa,” from Philippine director Brillante Mendoza, which some critics had suggested was a supporting role in a sprawling ensemble. “The critics were wrong,” said Donald Sutherland. “It’s a big-time leading role.”
“She’s the film,” said Arnaud Desplechin. “She broke my heart.”
The jury admitted that there were many strong actress contenders including “I, Daniel Blake”‘s Hayley Squires and Romanian actress Maria Dragus (“Graduation”), but they couldn’t award more than one prize for winners of the top three awards.
Asghar Farhadi’s “The Salesman” (Amazon/Cohen Media) was another surprise winner, taking home two prizes, for Best Actor and Best Screenplay. Shahab Hosseini plays an actor who is in the midst of moving apartments and starring in Arthur Miller’s “Death of a Salesman” when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. When the door buzzes, the wife thinks she is letting in her husband, but winds up in the hospital with more than wounds to her head and psyche — her husband is hellbent on revenge.
The Honorary Palme d’Or went to Jean-Pierre Leaud, who came to the festival with his first film “The 400 Blows” in 1959 when he was 14 years old, and was hugged by Jean Cocteau. Juror Arnaud Desplechin presented the award. Leaud said this was the most joy he had felt since Francois Truffaut told him to take the script for “The 400 Blows.”
Among those who did not need to attend the closing ceremony were Isabelle Huppert, who earned raves for Paul Verhoeven’s provocative thriller “Elle” (Sony Pictures Classics), in which she plays a videogame entrepreneur who refuses to allow her violent rape in her own home to ruin her life. Verhoeven’s first French-language film is likely to play better in North America.
Read More: Cannes 2016: Complete List of This Year’s Winners
Also left out of the awards were “Paterson” (Amazon), American auteur Jim Jarmusch’s spare and austere portrait of a bus driver poet (Adam Driver) and his wife and muse (Golshifteh Farahani), as well as Jean-Pierre and Luc Dardennes’ “The Unknown Girl” (Sundance Selects), starring Adèle Haenel as an empathetic doctor who ignores a late-hour doorbell at her private practice and finds out that the young woman was murdered nearby. She embarks on a mission to identify the girl and inform her family of her death. Park Chan-Wook’s gorgeously wrought erotic drama “The Handmaiden” (Amazon) starring Kim Min-hee and newcomer Kim Tae-ri as secret lesbian lovers was also overlooked.
Among the anticipated films that disappointed the critics at Cannes (not to mention the jury) were Sean Penn’s aid worker romance “The Last Face,” starring Javier Bardem and Charlize Theron, which was seeking a North American buyer, and Nicolas Winding Refn’s “Neon Demon” (Amazon), starring Elle Fanning, who discovers that starving models in the Los Angeles fashion world literally eat each other alive. In one memorable scene, when one x-ray model known as the bionic woman (because she has altered so much of her body) throws up an eyeball, her best friend pops it into her own mouth. (With five films at the festival, Amazon won no awards.)
At the “Neon Demon” party, when I asked Cannes director Thierry Fremaux why so many movies wound up in Competition that the critics did not like, he said that the festival was not set up for the critics, although they clearly play an important role. He said that how movies played for audiences was important too. Clearly that included the Cannes jury.
Stay on top of the all the latest headlines! Sign up for our Daily Headlines email newsletter here. Related storiesCannes Film Festival Awards 2016Cannes Today: New Talent EmergesHow Will the Cannes Film Festival Impact the Rest of the Year in Film? (Podcast)...
Thanks to jury chief Miller, it was Mel Gibson (whose “Blood Father” played well as a Cannes midnight movie) who presented the Palme d’Or to 79-year-old British director Ken Loach, winning for the second time (2006’s “The Wind that Shakes the Barley”); he’s won many other prizes over 18 films selected for Cannes. By far the most emotional movie of the festival, “I, Daniel Blake” (Sundance Selects) brought audiences to wrenching tears, including this writer. Based on research into England’s public welfare crisis, the film is a fictionalized story set in Newcastle about a joiner (Dave Johns) who can’t seem to convince the state to give him the disability he needs after a heart condition makes it impossible for him to work.
“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”
Read More: The 2016 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
Many critics did not respond to Loach’s overtly political film because they didn’t think he was doing anything different from what he had done before. But they really didn’t like Xavier Dolan’s very theatrical “It’s Only the End of the World,” which won the consolation prize, the Grand Prix, which means that the jury responded very differently to this heartfelt adaptation of a play about a dysfunctional family, who scream in French in extreme closeup. (Dolan won the jury prize in 2014 for “Mommy.”)
“Thank you for feeling the emotions of the film,” said Dolan (who attacked the critical reaction to his film) in a speech during which he cried, lips trembling, and chewed on his hands. Maybe it will now be picked up for the U.S., although it won’t be a crowdpleaser.
Co-winner of the director prize, Romanian Cristian Mungiu (“Graduation”), had also won the Palme d’Or, for 2007’s “4 Months, 3 Weeks, 2 Days,” and his actresses shared the Actress prize for “Beyond the Hills.” Mungiu’s “Graduation” (Sundance Selects) sends a controlling father (Adrian Titieni) into a tailspin when his long-held post-graduation plans for his daughter (Maria Dragus) go terribly awry. Mungiu points out each individual’s role in doing the right thing when corruption and compromise often rule the day.
Co-winner Olivier Assayas, on the other hand, accepted his first Cannes award for “Personal Shopper” (IFC Films), his second English-language film starring Kristen Stewart (Cesar winner for “Clouds of Sils Maria”), whose character acquires fashionable clothes for a rich client. She tries to use her skills as a medium to communicate with her twin brother, who has recently died, when mysterious texts suddenly appear on her iPhone. It was a great Cannes for Stewart, who was well-received in Woody Allen’s “Cafe Society” (Amazon) as well, and for IFC/Sundance Selects, which is releasing “I, Daniel Blake,” “Graduation” and “Personal Shopper.”
Those who thought that the women who dominated the Cannes would come home with multiple awards were sorely disappointed. British director Andrea Arnold took home the jury prize for the third time for her daring American road movie “American Honey” (A24), a coming of age story starring Shia Labeouf and unknown Sasha Lane, making Arnold three for three at the fest after 2006’s “Red Road” and 2009’s “Fish Tank.”
Critics adored the film, which was shaped by the American midwestern landscape as well as the editing room. The film was vastly different from its original script and unlike anything else at Cannes this year. “Five hours ago I was sitting in my neighbor’s garden drinking tea,” Arnold said in her acceptance speech, thanking her cast and crew for the “team effort” on their “great adventure.”
Meanwhile, critics’ fave and the winner by a mile of the Screen International Critics Poll (see below), German director Maren Ade’s exquisite father-daughter comedy “Toni Erdmann” (Sony Pictures Classics), came home empty-handed. At the jury press conference jury chief Miller cited a “passionate” and long jury deliberation (which Mikkelsen described as “difficult”) on 21 films, directors, writers and many more actors as well as arcane jury rules that demand that the top three winners cannot win a second prize. Miller and Mads Mikkelsen both stated that they judged the films on their excellence, not on the sex of who directed them. “Each film was judged on its merits,” said Miller. “Filmmaking is filmmaking. It did not come up, we were looking at other issues.”
The first-time director prize went to “Divines,” a gangster thriller and female buddy movie directed by Houda Benyamina (Director’s Fortnight).
The jury defended the choice of Best Actress Jaclyn Jose for “Ma’ Rosa,” from Philippine director Brillante Mendoza, which some critics had suggested was a supporting role in a sprawling ensemble. “The critics were wrong,” said Donald Sutherland. “It’s a big-time leading role.”
“She’s the film,” said Arnaud Desplechin. “She broke my heart.”
The jury admitted that there were many strong actress contenders including “I, Daniel Blake”‘s Hayley Squires and Romanian actress Maria Dragus (“Graduation”), but they couldn’t award more than one prize for winners of the top three awards.
Asghar Farhadi’s “The Salesman” (Amazon/Cohen Media) was another surprise winner, taking home two prizes, for Best Actor and Best Screenplay. Shahab Hosseini plays an actor who is in the midst of moving apartments and starring in Arthur Miller’s “Death of a Salesman” when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. When the door buzzes, the wife thinks she is letting in her husband, but winds up in the hospital with more than wounds to her head and psyche — her husband is hellbent on revenge.
The Honorary Palme d’Or went to Jean-Pierre Leaud, who came to the festival with his first film “The 400 Blows” in 1959 when he was 14 years old, and was hugged by Jean Cocteau. Juror Arnaud Desplechin presented the award. Leaud said this was the most joy he had felt since Francois Truffaut told him to take the script for “The 400 Blows.”
Among those who did not need to attend the closing ceremony were Isabelle Huppert, who earned raves for Paul Verhoeven’s provocative thriller “Elle” (Sony Pictures Classics), in which she plays a videogame entrepreneur who refuses to allow her violent rape in her own home to ruin her life. Verhoeven’s first French-language film is likely to play better in North America.
Read More: Cannes 2016: Complete List of This Year’s Winners
Also left out of the awards were “Paterson” (Amazon), American auteur Jim Jarmusch’s spare and austere portrait of a bus driver poet (Adam Driver) and his wife and muse (Golshifteh Farahani), as well as Jean-Pierre and Luc Dardennes’ “The Unknown Girl” (Sundance Selects), starring Adèle Haenel as an empathetic doctor who ignores a late-hour doorbell at her private practice and finds out that the young woman was murdered nearby. She embarks on a mission to identify the girl and inform her family of her death. Park Chan-Wook’s gorgeously wrought erotic drama “The Handmaiden” (Amazon) starring Kim Min-hee and newcomer Kim Tae-ri as secret lesbian lovers was also overlooked.
Among the anticipated films that disappointed the critics at Cannes (not to mention the jury) were Sean Penn’s aid worker romance “The Last Face,” starring Javier Bardem and Charlize Theron, which was seeking a North American buyer, and Nicolas Winding Refn’s “Neon Demon” (Amazon), starring Elle Fanning, who discovers that starving models in the Los Angeles fashion world literally eat each other alive. In one memorable scene, when one x-ray model known as the bionic woman (because she has altered so much of her body) throws up an eyeball, her best friend pops it into her own mouth. (With five films at the festival, Amazon won no awards.)
At the “Neon Demon” party, when I asked Cannes director Thierry Fremaux why so many movies wound up in Competition that the critics did not like, he said that the festival was not set up for the critics, although they clearly play an important role. He said that how movies played for audiences was important too. Clearly that included the Cannes jury.
Stay on top of the all the latest headlines! Sign up for our Daily Headlines email newsletter here. Related storiesCannes Film Festival Awards 2016Cannes Today: New Talent EmergesHow Will the Cannes Film Festival Impact the Rest of the Year in Film? (Podcast)...
- 5/22/2016
- by Anne Thompson
- Thompson on Hollywood
Amid the fashion and famous faces at the Cannes Film Festival, it is sometimes easy to forget the annual gathering's main focus is celebrating the art of cinema. The 69th annual 11-day festival, held in France, awarded its top honors on Sunday, coming to a close until next May. I, Daniel Blake, directed by Ken Loach, 79, was awarded the Palme d'Or, the festival's highest prize. The film follows the welfare battle of a 59-year-old Englishman who becomes ill shortly before meeting a struggling single mother. Loach has won the Palme once before, for 2006's Cillian Murphy-starring drama The Wind That That Shakes the Barley.
- 5/22/2016
- by Lindsay Kimble, @lekimble
- PEOPLE.com
Amid the fashion and famous faces at the Cannes Film Festival, it is sometimes easy to forget the annual gathering's main focus is celebrating the art of cinema. The 69th annual 11-day festival, held in France, awarded its top honors on Sunday, coming to a close until next May. I, Daniel Blake, directed by Ken Loach, 79, was awarded the Palme d'Or, the festival's highest prize. The film follows the welfare battle of a 59-year-old Englishman who becomes ill shortly before meeting a struggling single mother. Loach has won the Palme once before, for 2006's Cillian Murphy-starring drama The Wind That That Shakes the Barley.
- 5/22/2016
- by Lindsay Kimble, @lekimble
- PEOPLE.com
In CompetitionPalme d'Or – I, Daniel Blake, directed by Ken Loach. Grand Prix – It's Only the End of the World, directed by Xavier Dolan.Jury Prize – American Honey, directed by Andrea Arnold. Best Director – Olivier Assayas for Personal Shopper and Cristian Mungiu for Graduation. Best Actor – Shahab Hosseini for The Salesman.Best Actress – Jaclyn Jose for Ma' Rosa.Best Screenplay – Asghar Farhadi for The Salesman.Un Certain RegardPrix Un Certain Regard – The Happiest Day in the Life of Olli Mäki, directed by Juho KuosmanenJury Prize – Harmonium, directed by Köji Fukada. Best Director – Captain Fantastic, directed by Matt Ross. Best Screenplay – Delphine Coulin and Muriel Coulin for The Stopover. Special Prize – The Red Turtle, directed by Michael Dudok de WitCamera d'OrCamera d'Or – Divines, directed by Houda Benyamina.Critics' WeekCritics' Week Grand Prize – Mimosas, directed by Oliver Laxe. FIPRESCICompetition Fipresci Prize – Toni Erdmann, directed by Maren AdeUn Certain Regard Fipresci Prize – Caini, directed...
- 5/22/2016
- MUBI
Palme d’Or I, Daniel Blake, dir: Ken Loach Grand Prize Xavier Dolan, It’s Only The End Of The World Best Director Tie Cristian Mungiu, Graduation Olivier Assayas, Personal Shopper Jury Prize American Honey,...
- 5/22/2016
- by Ryan Adams
- AwardsDaily.com
British filmmaker Ken Loach wins second Palme d’Or; Asghar Farhadi’s The Salesman wins two.Scroll down for full list of winners
Ken Loach’s I, Daniel Blake has won the Palme d’Or at the 69th Cannes Film Festival (May 11-22), marking the second time the British filmmaker has won the top prize after The Wind That Shakes The Barley in 2006.
The 79-year-old filmmaker returned for a record 13th Competition entry with the tale of an injured carpenter and single mother caught in a bureaucracy nightmare within the UK welfare system.
Accepting the Palme d’Or from actor Mel Gibson, Loach used his acceptance speech to spotlight the “dangerous project of austerity”.
“We must give a message of hope, we must say another world is possible,” he said. “The world we live in is at a dangerous point right now. We are in the grip of a dangerous project of austerity driven by ideas that we...
Ken Loach’s I, Daniel Blake has won the Palme d’Or at the 69th Cannes Film Festival (May 11-22), marking the second time the British filmmaker has won the top prize after The Wind That Shakes The Barley in 2006.
The 79-year-old filmmaker returned for a record 13th Competition entry with the tale of an injured carpenter and single mother caught in a bureaucracy nightmare within the UK welfare system.
Accepting the Palme d’Or from actor Mel Gibson, Loach used his acceptance speech to spotlight the “dangerous project of austerity”.
“We must give a message of hope, we must say another world is possible,” he said. “The world we live in is at a dangerous point right now. We are in the grip of a dangerous project of austerity driven by ideas that we...
- 5/22/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The time has come to award this year’s winners, including the recipient of the coveted Palme d’Or. Screen is at the ceremony… and the first winners have been announced.
Refresh this page for updates…
Palme d’Or
I, Daniel Blake, Ken Loach (UK)
Grand Prix
It’s Only The End Of The World (Juste La Fin Du Monde), Xavier Dolan (Canada)
Best Director
Olivier Assayas, Personal Shopper (France)
&
Cristian Mungiu, Graduation (Bacalaureat) (Romania)
Best Screenplay
Asghar Farhadi, The Salesman (Forushande) (Iran)
Jury Prize
American Honey, Andrea Arnold (UK)
Best Actor
Shahab Hosseini, The Salesman (Forushande)
Dir. Asghar Farhadi (Iran)
Best Actress
Jaclyn Jose, Ma’ Rosa
Dir. Brilliante Mendoza (Philippines)
Honorary Palme d’or
Jean-Pierre Léaud
Camera d’Or
Divines, Houda Benyamina
Best Short Film
Timecode, Juanjo Gimenez (Spain)
Short Film Special Mention
The Girl who Danced with the Devil (A Moça Que Dançou Com O Diabo),João Paulo Miranda Maria (Brazil)
The jury, presided over by...
Refresh this page for updates…
Palme d’Or
I, Daniel Blake, Ken Loach (UK)
Grand Prix
It’s Only The End Of The World (Juste La Fin Du Monde), Xavier Dolan (Canada)
Best Director
Olivier Assayas, Personal Shopper (France)
&
Cristian Mungiu, Graduation (Bacalaureat) (Romania)
Best Screenplay
Asghar Farhadi, The Salesman (Forushande) (Iran)
Jury Prize
American Honey, Andrea Arnold (UK)
Best Actor
Shahab Hosseini, The Salesman (Forushande)
Dir. Asghar Farhadi (Iran)
Best Actress
Jaclyn Jose, Ma’ Rosa
Dir. Brilliante Mendoza (Philippines)
Honorary Palme d’or
Jean-Pierre Léaud
Camera d’Or
Divines, Houda Benyamina
Best Short Film
Timecode, Juanjo Gimenez (Spain)
Short Film Special Mention
The Girl who Danced with the Devil (A Moça Que Dançou Com O Diabo),João Paulo Miranda Maria (Brazil)
The jury, presided over by...
- 5/22/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The time has come to award this year’s winners, including the recipient of the coveted Palme d’Or. Screen is at the ceremony… and the first winners have been announced.
Refresh this page for updates…
Grand Prix
It’s Only The End Of The World (Juste La Fin Du Monde), Xavier Dolan (Canada)
Best Director
Olivier Assayas, Personal Shopper (France)
&
Cristian Mungiu, Graduation (Bacalaureat) (Romania)
Best Screenplay
Asghar Farhadi, The Salesman (Forushande) (Iran)
Jury Prize
American Honey, Andrea Arnold (UK)
Best Actor
Shahab Hosseini, The Salesman (Forushande)
Dir. Asghar Farhadi (Iran)
Best Actress
Jaclyn Jose, Ma’ Rosa
Dir. Brilliante Mendoza (Philippines)
Honorary Palme d’or
Jean-Pierre Léaud
Camera d’Or
Divines, Houda Benyamina
Best Short Film
Timecode, Juanjo Gimenez (Spain)
Short Film Special Mention
The Girl who Danced with the Devil (A Moça Que Dançou Com O Diabo),João Paulo Miranda Maria (Brazil)
The jury, presided over by Mad Max director George Miller, is on stage...
Refresh this page for updates…
Grand Prix
It’s Only The End Of The World (Juste La Fin Du Monde), Xavier Dolan (Canada)
Best Director
Olivier Assayas, Personal Shopper (France)
&
Cristian Mungiu, Graduation (Bacalaureat) (Romania)
Best Screenplay
Asghar Farhadi, The Salesman (Forushande) (Iran)
Jury Prize
American Honey, Andrea Arnold (UK)
Best Actor
Shahab Hosseini, The Salesman (Forushande)
Dir. Asghar Farhadi (Iran)
Best Actress
Jaclyn Jose, Ma’ Rosa
Dir. Brilliante Mendoza (Philippines)
Honorary Palme d’or
Jean-Pierre Léaud
Camera d’Or
Divines, Houda Benyamina
Best Short Film
Timecode, Juanjo Gimenez (Spain)
Short Film Special Mention
The Girl who Danced with the Devil (A Moça Que Dançou Com O Diabo),João Paulo Miranda Maria (Brazil)
The jury, presided over by Mad Max director George Miller, is on stage...
- 5/22/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
After ten days during which a large number of films scored vocal booing during critics screenings, the Cannes Film Festival has come to a close with the top prizes being awarded tonight.
Ken Loach took his second Palme d'Or with his "I, Daniel Blake" taking the top honor of the festival. Runners-up were Xavier Dolan's "It's Only The End Of The World" with the Grand Prize and Andrea Arnold's "American Honey" with the Jury Prize. Joao Paulo Miranda Maria's "The Girl Who Danced With The Devil" scored a special mention.
Another big winner was Asghar Farhadi's "The Salesman" which scored best screenplay and best actor for Shahab Hosseini. Best Director was a tie between Cristian Mungiu ("Graduation") and Olivier Assayas ("Personal Shopper"), Jaclyn Jose won Best Actress for "Ma'Rosa", "Divines" took the Camera d'Or, and Jean-Pierre Leaud won the Palme d'Honneur.
George Miller headed up the jury...
Ken Loach took his second Palme d'Or with his "I, Daniel Blake" taking the top honor of the festival. Runners-up were Xavier Dolan's "It's Only The End Of The World" with the Grand Prize and Andrea Arnold's "American Honey" with the Jury Prize. Joao Paulo Miranda Maria's "The Girl Who Danced With The Devil" scored a special mention.
Another big winner was Asghar Farhadi's "The Salesman" which scored best screenplay and best actor for Shahab Hosseini. Best Director was a tie between Cristian Mungiu ("Graduation") and Olivier Assayas ("Personal Shopper"), Jaclyn Jose won Best Actress for "Ma'Rosa", "Divines" took the Camera d'Or, and Jean-Pierre Leaud won the Palme d'Honneur.
George Miller headed up the jury...
- 5/22/2016
- by Garth Franklin
- Dark Horizons
Not a huge amount happens in Ma’ Rosa, the relentless new film from Filipino director Brillante Mendoza, which premieres this week in competition at Cannes. In present-day Manila, a woman and her husband are arrested for dealing methamphetamines and taken to the police station for interrogation before rounding up their three children who, in turn, must collect the sufficient sum of money to bail them out. It’s a bit of a slog, not least in the first half, but it’s also the kind of film that seeps into the viewer in the minutes and hours and days afterwards. Returning to the style and locale that brought him international acclaim with Kinatay in 2009, Mendoza shoots it like a pseudo-documentary, employing erratic, grainy handheld camerawork and relatively few cuts. Critics often say he’s an uncompromising director. It’s easy to see why.
Jaclyn Jose plays Rosa, the titular matriarch...
Jaclyn Jose plays Rosa, the titular matriarch...
- 5/18/2016
- by Rory O'Connor
- The Film Stage
Filipino director’s Palme d’Or contender revolves around a convenience store owner who sells narcotics on the side.
Paris-based Films Distribution has reunited with Filipino director Brillante Mendoza to handle international sales of his new film Ma’ Rosa ahead of its premiere in Competition at the Cannes Film Festival (May 11-22).
Set against the backdrop of the slums of Manila, the film revolves around convenience store owner Rosa, who sells narcotics on the side. When Rosa and her husband are arrested, their four children are forced to trade their meagre possessions to raise money to pay-off the police.
It sees Mendoza reunite with Jaclyn Jose, having previously worked with the veteran actress on Service (Serbis), which played in Competition at Cannes in 2008.
“I went to see a first-cut in Manila a few months ago, and knew right away that this was probably his best work ever,” said Films Distribution co-chief Nicolas Brigaud-Robert.
“In a sense...
Paris-based Films Distribution has reunited with Filipino director Brillante Mendoza to handle international sales of his new film Ma’ Rosa ahead of its premiere in Competition at the Cannes Film Festival (May 11-22).
Set against the backdrop of the slums of Manila, the film revolves around convenience store owner Rosa, who sells narcotics on the side. When Rosa and her husband are arrested, their four children are forced to trade their meagre possessions to raise money to pay-off the police.
It sees Mendoza reunite with Jaclyn Jose, having previously worked with the veteran actress on Service (Serbis), which played in Competition at Cannes in 2008.
“I went to see a first-cut in Manila a few months ago, and knew right away that this was probably his best work ever,” said Films Distribution co-chief Nicolas Brigaud-Robert.
“In a sense...
- 4/25/2016
- ScreenDaily
Epix is moving forward to create new series with Jocelyn Diaz, newly appointed executive vice president for original programming.
The former president of production at Walt Disney Studios will help move Epix forward in producing original content, a new venture for the premium cable network.
The move could create a path for Epix to be a player in streaming sites making waves in awards season. Netflix’s “House of Cards” and Amazon Prime’s transgender series “Transparent” recently won at the 72nd Annual Golden Globe Awards.
Also read: Viacom and Frontier Communications Renew Carriage Agreement, Including Epix
“At Epix, our...
The former president of production at Walt Disney Studios will help move Epix forward in producing original content, a new venture for the premium cable network.
The move could create a path for Epix to be a player in streaming sites making waves in awards season. Netflix’s “House of Cards” and Amazon Prime’s transgender series “Transparent” recently won at the 72nd Annual Golden Globe Awards.
Also read: Viacom and Frontier Communications Renew Carriage Agreement, Including Epix
“At Epix, our...
- 1/13/2015
- by Alicia Banks
- The Wrap
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