Chloë Sevigny is the latest A-lister to join Luca Guadagnino’s upcoming thriller After the Hunt, re-teaming with the director for a third time after the cannibal love story Bones & All and HBO series We Are Who We Are.
Sevigny joins a cast that includes Julia Roberts, Andrew Garfield, Ayo Edebiri, and fellow Guadagnino regular Michael Stuhlbarg, with the film due to begin production this summer.
Guadagnino is directing from a script penned by Nora Garrett, which follows a college professor who has to contest with the personal and professional ramifications of a star pupil leveling an accusation against one of her colleagues. All the while, a dark secret from her own past threatens to come to light.
Amazon MGM is behind the project after worked with Guadagnino on his latest film, Zendaya’s tennis romantic drama Challengers, which has grossed $90 million at the global box office. Imagine Entertainment is set to produce,...
Sevigny joins a cast that includes Julia Roberts, Andrew Garfield, Ayo Edebiri, and fellow Guadagnino regular Michael Stuhlbarg, with the film due to begin production this summer.
Guadagnino is directing from a script penned by Nora Garrett, which follows a college professor who has to contest with the personal and professional ramifications of a star pupil leveling an accusation against one of her colleagues. All the while, a dark secret from her own past threatens to come to light.
Amazon MGM is behind the project after worked with Guadagnino on his latest film, Zendaya’s tennis romantic drama Challengers, which has grossed $90 million at the global box office. Imagine Entertainment is set to produce,...
- 6/4/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
“Cheech and I were on the Paramount lot after we’d done the movie, and we’re kind of trying to figure out what we were going to do next— how we were going to get another movie going,” remembers Tommy Chong of the weeks following the 1978 release of Up in Smoke, the first film from him and comedy partner Cheech Marin. “And Warren Beatty, pulls up in his convertible. He took off his sunglasses and looked at us and he goes, ‘You guys have no idea what you’ve done.’ And we looked at each other like thinking, ‘Oh, what did we do?’ What we did was we pulled a movie out of thin air.”
Up in Smoke, which was made independently by principals with no filmmaking experience, grossed over $100 million at the box office, simultaneously launching and proving the commercial value of the genre, all in one go.
Up in Smoke, which was made independently by principals with no filmmaking experience, grossed over $100 million at the box office, simultaneously launching and proving the commercial value of the genre, all in one go.
- 3/9/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
London and Paris based production, finance and sales outfit Film Constellation have revealed the first look of “Bonjour Tristesse,” which just wrapped principal photography. The adaptation of Françoise Sagan’s novel is directed by Durga Chew-Bose. Film Constellation is showing exclusive first promo footage to buyers during the European Film Market.
Academy Award nominee and Golden Globes winner Chloë Sevigny stars alongside Claes Bang with rising talent Lily McInerny in the role of Cécile. McInerny received a best breakthrough performance nomination at the 2023 Film Independent Spirit Awards.
This contemporary adaptation also stars Aliocha Schneider (“Greek Salad”) and Naïlia Harzoune (“Patients”).
The film is produced by Babe Nation Films’s Katie Bird Nolan and Lindsay Tapscott, Elevation Pictures’ Noah Segal and Christina Piovesan, Wolfgang Mueller and Benito Mueller of Barry Films and Cinenovo’s Julie Viez. Executive producers are Fabien Westerhoff for Constellation Prods., Suzanne Court, Elevation’s Omar Chalabi, Jesse Weening and Emily Kulasa,...
Academy Award nominee and Golden Globes winner Chloë Sevigny stars alongside Claes Bang with rising talent Lily McInerny in the role of Cécile. McInerny received a best breakthrough performance nomination at the 2023 Film Independent Spirit Awards.
This contemporary adaptation also stars Aliocha Schneider (“Greek Salad”) and Naïlia Harzoune (“Patients”).
The film is produced by Babe Nation Films’s Katie Bird Nolan and Lindsay Tapscott, Elevation Pictures’ Noah Segal and Christina Piovesan, Wolfgang Mueller and Benito Mueller of Barry Films and Cinenovo’s Julie Viez. Executive producers are Fabien Westerhoff for Constellation Prods., Suzanne Court, Elevation’s Omar Chalabi, Jesse Weening and Emily Kulasa,...
- 2/18/2024
- by Carole Horst
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.Extra! Extra!A new Notebook publication has been released into the world! Our limited-edition, print-only Notebook Cannes Special is exclusively available at the Cannes Film Festival. It includes interviews with Souleymane Cissé and Alice Rohrwacher, an insider’s guide to the festival, a crossword, a comic, and much more. The publication is pictured above, but the bright red Pantone color must be seen on the page to be truly appreciated! (As an online preview: Yasmina Price's interview with Souleymane Cissé is available online.)NEWSIn production news, writer Durga Chew-Bose will make her directorial debut with an adaptation of Françoise Sagan's Bonjour Tristesse, starring Chloë Sevigny and Claes Bang (The Square). Filming began last week in the south of France.Noémie Merlant (of...
- 5/17/2023
- MUBI
Exclusive: Oscar nominee Chloë Sevigny (Boys Don’t Cry), European Film Awards best actor winner Claes Bang (The Square), Sundance 2022 breakout Lily McInerny (Palm Trees and Power Lines) and French actress Nailia Harzoune (Gone For Good) are leading an English-language contemporary adaptation of French writer Françoise Sagan’s classic novel Bonjour Tristesse.
London and Paris-based outfit Film Constellation is launching sales in Cannes on the project written and to be directed by newcomer Durga Chew-Bose. UTA Independent Film Group is repping domestic sales alongside Film Constellation and Elevation Pictures.
The story follows Cécile (McInerny), a young woman spending the summer in a villa in the south of France with her widowed father Raymond (Bang) and his latest love interest, Elsa (Harzoune). Theirs is a lived-in compatibility—a world of ease and languor. But all that soon changes with the arrival of Anne (Sevigny), an old friend of Raymond and Cécile’s mother.
London and Paris-based outfit Film Constellation is launching sales in Cannes on the project written and to be directed by newcomer Durga Chew-Bose. UTA Independent Film Group is repping domestic sales alongside Film Constellation and Elevation Pictures.
The story follows Cécile (McInerny), a young woman spending the summer in a villa in the south of France with her widowed father Raymond (Bang) and his latest love interest, Elsa (Harzoune). Theirs is a lived-in compatibility—a world of ease and languor. But all that soon changes with the arrival of Anne (Sevigny), an old friend of Raymond and Cécile’s mother.
- 5/16/2023
- by Andreas Wiseman and Melanie Goodfellow
- Deadline Film + TV
The Cannes Film Festival has unveiled the poster for its upcoming 76th edition which pays tribute to iconic French actress Catherine Deneuve. Scroll down to see it.
The image shows Deneuve standing on Pampelonne beach, near Saint-Tropez, for the shoot of Alain Cavalier’s 1968 romantic drama Heartbeat (La Chamade), adapted from the novel by Françoise Sagan.
Deneuve stars as a beautiful woman who oscillates between her older businessman lover and a charming young man of her own age, played by Michel Piccoli and Roger Van Hool.
“She plays Lucile, who leads a worldly and superficial life, tinged with ease and a taste for luxury. Her heart beats frantically, hurriedly, passionately,” said the festival in a statement. “Like the heart of cinema that the Festival de Cannes celebrates every year: its lively and embodied pulse can be heard everywhere. The heart of the 7th Art – of its artists, professionals, amateurs, press – beats like a drum,...
The image shows Deneuve standing on Pampelonne beach, near Saint-Tropez, for the shoot of Alain Cavalier’s 1968 romantic drama Heartbeat (La Chamade), adapted from the novel by Françoise Sagan.
Deneuve stars as a beautiful woman who oscillates between her older businessman lover and a charming young man of her own age, played by Michel Piccoli and Roger Van Hool.
“She plays Lucile, who leads a worldly and superficial life, tinged with ease and a taste for luxury. Her heart beats frantically, hurriedly, passionately,” said the festival in a statement. “Like the heart of cinema that the Festival de Cannes celebrates every year: its lively and embodied pulse can be heard everywhere. The heart of the 7th Art – of its artists, professionals, amateurs, press – beats like a drum,...
- 4/19/2023
- by Melanie Goodfellow
- Deadline Film + TV
Mathieu Amalric's Barbara is showing exclusively from February 24 – March 25, 2019 on Mubi in the United States. Dear Jeanne Balibar,I have seen you but I remain doubtful about whether you have seen me. Well, actually I have heard you at first. Your trembling voice somewhere between seduction and fear, your beautiful songs. I hesitated a long time to write to you. It gave me courage that you have dealt with men who hesitate a lot in your films. It is a bit hard to approach you. You always seem to be surrounded with friends. You work with them over and over again. There are different groups I saw you with. Some women and some men appear next to you all the time, but actually you very often make it seem as if you appeared next to them. I have the feeling that following you like I have done is really...
- 2/24/2019
- MUBI
Claire Denis’ presentation was moderated The Hollywood Reporter’s Todd McCarthy. Since Claire was the head of La Fabrique du Cinema du Monde this year, she brought the Chinese director-producer team Liu Shu and Liang Ying as guests to discuss their take on gender politics in the cinema industry as they know it. Their film, “ Lotus Position” is one of 13 projects chosen by La Fabrique this year. With a budget of € 420,000 of which € 80,000 has been secured, they are searching for coproducers and cowriters and for post-production studios as project partners (Europe and Asia), distributors, international sales, international funds (Eurimages Support to World Cinema, World Cinema Fund, SorFond, Visions Sud Est, Doha Film Institute grant post production).
Watch the video of the interview here.
Clair was rather vague about her own success “as a woman”. She said she was not really conscious of any prejudices or mishandling when she got into the business. Maybe the men saw her as this little sassy little girl, but to her, she was just working to do what she loved and did not really notice. It was unusual when she started directing, and there were not many women, but that never stopped her. It was most important to make a film. Doubt was not about being a woman, but about whether she could make a good film. Maybe some people saw her as a “little girl who wanted to make movies”, but that never touched her at all. It was as if she was “walking in the rain without getting wet”. Her parents never stopped her either.
“Did you have female role modes?” Todd McCarthy asked her.
“I read mostly. Virginia Woolf was my favorite.” She didn’t want to even begin to think about Simone de Beauvoir (editor here: I am rereading Simone de Beauvoir now! The Mandarins) She read Francoise Sagan (“How I adored Bonjour Tristesse and A Certain Smile which I paired with the Johnny Matthes song in the days of my youth,” I thought – Sydney here). She had no fear. Juliette Greco (who starred in Otto Preminger’s 1958 Bonjour Tristesse) was so strong. She was on top. Thanks to 1946 French cinema, she was accepted in the small French film industry.
How do you see cinema today?
There are so many coproductions with France, like Jim Jarmusch’s new film [sic. If I heard this correctly, I have been unable to track what his new film is…sorry fans. But “Only Lovers Left Alive” did have French coproduction money. S.]
In Hollywood they say women have trouble with the crews. Did you?
As first Ad, maybe the crew was a bit annoyed; my voice was not loud enough. But we made a film. The power of concentrating and the power of belief is stronger than that.
[Todd asks this] as a film critic: Among other women critics, are there so many women critics in France?
Maybe less, there is some prejudice from Cahiers de Cinema. But there are female critics though it may be a more masculine world.
How has the French industry changed since you entered in the 70s?
Maurice Pialet said, “More and more women are working in cinema because it is no longer alive. Cinema is dead”. I see more girls in school, equal between boys and girls. There seem to be more women producers than men. There is no “pushing”, women are there. In some other countries, it is not so.
Each time Claire starts a new project, she starts from zero. Her self-doubt is not that she can’t do it, but that she might not be able to go ahead enough with shrewdness and determination without complaining about obstacles, to keep on convincing “them”. Women must come in on time and on budget.
As a note on Les Fabrique du Cinema du Monde, Claire described the “master classes” as having no master nor class. It is a collaboration of newer and more seasoned cineastes. A female Chinese journalist made her first film and is meeting now with industry people she said referring to one of her guests, Liu Shu.
How about women in the Chinese industry?
Claire’s two Chinese guests are at Cinema du Monde with “ Lotus Position”, about a young woman’s psychological and personal quest in China today which takes her from pain to fear, from confrontation to serenity and ends with the question remaining: Can she accept injustice?
Director Liu Shu is a graduate of the University of Shandong where she majored in art. She became a television journalist and then turned to the cinema. Employed in an Ngo, she presented independent and experimental films in a network of academic and artistic venues.” Lotus”, the first film she directed, wrote and produced on her own, premiered at the Critics' Week in Venice in 2012 .
Producer Liang Ying has worked with the production company, Chinese Shadows, for three years. Headquartered in Hong Kong, this sales and production company represents the new generation of Asian filmmakers in order to introduce them worldwide and to accompany in their meetings with their public. Chines Shadows' recent productions include “Red Amnesia” (Wang Xiaoshuai, Venice 2014 Competition) and “(Sex) Appeal” (Wang Wei Ming, Busan 2014 Competition).
The Chinese industry is progressing according to Liu Shu. But she likes Claire Denis’ description of doing “a good job” for its depiction of a male-female work.
She read the N.Y. Film Academy Study of 2007 and no such statistical study exists in China. They hear in China there were two commercial films by women. Women make independent films with no support; it is a fight to make a film. There are not many women directors in China.
Director Liu Shu never watches TV because it is always about men with a lot of women. The image they always see is about a woman searching for a husband.
Todd: Why are there so many films like that?
Because the Chinese leader is a man.
How do you fight against that?
Add more women?
It is a small industry with small companies. One company can make a big difference. At university there were many women.
The audience had some interesting questions:
“How to inspire investors to take a chance with women?”
“How to change the talk from revolution to revelation?
Producer, Joyce Pierpolone (a guest at the events) cited the Sundance-Women in Film-usc Study of Women in the Cinema (available on Sundance.org ) which says that the number of women writers, directors, DPs and producers stopped growing some 10 years ago and as budgets got larger, there were less women. Even though at film schools gender representation is 50-50.
The Kering Foundation combats violence against women. In line with the Group’s new identity and to enhance its impact internationally, the Foundation has refocused its actions on three geographic areas and prioritizes one cause in each:
Sexual violence in the Americas (United-States, Brazil and Argentina) Harmful traditional practices in Western Europe (France, Italy and United-Kingdom) Domestic violence in Asia (China) The Foundation structures its action around 3 key pillars:
Supporting local and international NGOs Awarding Social Entrepreneurs (Social Entrepreneurs Awards) Organizing awareness campaigns You can watch all the speakers live on The Kering Group videos here: https://vimeo.com/keringgroup/videos...
Watch the video of the interview here.
Clair was rather vague about her own success “as a woman”. She said she was not really conscious of any prejudices or mishandling when she got into the business. Maybe the men saw her as this little sassy little girl, but to her, she was just working to do what she loved and did not really notice. It was unusual when she started directing, and there were not many women, but that never stopped her. It was most important to make a film. Doubt was not about being a woman, but about whether she could make a good film. Maybe some people saw her as a “little girl who wanted to make movies”, but that never touched her at all. It was as if she was “walking in the rain without getting wet”. Her parents never stopped her either.
“Did you have female role modes?” Todd McCarthy asked her.
“I read mostly. Virginia Woolf was my favorite.” She didn’t want to even begin to think about Simone de Beauvoir (editor here: I am rereading Simone de Beauvoir now! The Mandarins) She read Francoise Sagan (“How I adored Bonjour Tristesse and A Certain Smile which I paired with the Johnny Matthes song in the days of my youth,” I thought – Sydney here). She had no fear. Juliette Greco (who starred in Otto Preminger’s 1958 Bonjour Tristesse) was so strong. She was on top. Thanks to 1946 French cinema, she was accepted in the small French film industry.
How do you see cinema today?
There are so many coproductions with France, like Jim Jarmusch’s new film [sic. If I heard this correctly, I have been unable to track what his new film is…sorry fans. But “Only Lovers Left Alive” did have French coproduction money. S.]
In Hollywood they say women have trouble with the crews. Did you?
As first Ad, maybe the crew was a bit annoyed; my voice was not loud enough. But we made a film. The power of concentrating and the power of belief is stronger than that.
[Todd asks this] as a film critic: Among other women critics, are there so many women critics in France?
Maybe less, there is some prejudice from Cahiers de Cinema. But there are female critics though it may be a more masculine world.
How has the French industry changed since you entered in the 70s?
Maurice Pialet said, “More and more women are working in cinema because it is no longer alive. Cinema is dead”. I see more girls in school, equal between boys and girls. There seem to be more women producers than men. There is no “pushing”, women are there. In some other countries, it is not so.
Each time Claire starts a new project, she starts from zero. Her self-doubt is not that she can’t do it, but that she might not be able to go ahead enough with shrewdness and determination without complaining about obstacles, to keep on convincing “them”. Women must come in on time and on budget.
As a note on Les Fabrique du Cinema du Monde, Claire described the “master classes” as having no master nor class. It is a collaboration of newer and more seasoned cineastes. A female Chinese journalist made her first film and is meeting now with industry people she said referring to one of her guests, Liu Shu.
How about women in the Chinese industry?
Claire’s two Chinese guests are at Cinema du Monde with “ Lotus Position”, about a young woman’s psychological and personal quest in China today which takes her from pain to fear, from confrontation to serenity and ends with the question remaining: Can she accept injustice?
Director Liu Shu is a graduate of the University of Shandong where she majored in art. She became a television journalist and then turned to the cinema. Employed in an Ngo, she presented independent and experimental films in a network of academic and artistic venues.” Lotus”, the first film she directed, wrote and produced on her own, premiered at the Critics' Week in Venice in 2012 .
Producer Liang Ying has worked with the production company, Chinese Shadows, for three years. Headquartered in Hong Kong, this sales and production company represents the new generation of Asian filmmakers in order to introduce them worldwide and to accompany in their meetings with their public. Chines Shadows' recent productions include “Red Amnesia” (Wang Xiaoshuai, Venice 2014 Competition) and “(Sex) Appeal” (Wang Wei Ming, Busan 2014 Competition).
The Chinese industry is progressing according to Liu Shu. But she likes Claire Denis’ description of doing “a good job” for its depiction of a male-female work.
She read the N.Y. Film Academy Study of 2007 and no such statistical study exists in China. They hear in China there were two commercial films by women. Women make independent films with no support; it is a fight to make a film. There are not many women directors in China.
Director Liu Shu never watches TV because it is always about men with a lot of women. The image they always see is about a woman searching for a husband.
Todd: Why are there so many films like that?
Because the Chinese leader is a man.
How do you fight against that?
Add more women?
It is a small industry with small companies. One company can make a big difference. At university there were many women.
The audience had some interesting questions:
“How to inspire investors to take a chance with women?”
“How to change the talk from revolution to revelation?
Producer, Joyce Pierpolone (a guest at the events) cited the Sundance-Women in Film-usc Study of Women in the Cinema (available on Sundance.org ) which says that the number of women writers, directors, DPs and producers stopped growing some 10 years ago and as budgets got larger, there were less women. Even though at film schools gender representation is 50-50.
The Kering Foundation combats violence against women. In line with the Group’s new identity and to enhance its impact internationally, the Foundation has refocused its actions on three geographic areas and prioritizes one cause in each:
Sexual violence in the Americas (United-States, Brazil and Argentina) Harmful traditional practices in Western Europe (France, Italy and United-Kingdom) Domestic violence in Asia (China) The Foundation structures its action around 3 key pillars:
Supporting local and international NGOs Awarding Social Entrepreneurs (Social Entrepreneurs Awards) Organizing awareness campaigns You can watch all the speakers live on The Kering Group videos here: https://vimeo.com/keringgroup/videos...
- 6/19/2015
- by Sydney Levine
- Sydney's Buzz
After becoming the first female Palme d'Or winner, Jane Campion looked ready to usher in a new era of feminist cinema – but tragedy intervened. As she returns to chair Cannes, she tells Andrew Pulver about surviving as a woman director
Jane Campion was the first woman to win a Palme d'Or and only the second ever to be nominated for the best director Oscar. So it comes as a surprise that her latest gig, as president of the Cannes film festival jury, isn't another act of pioneering gender breakthrough. She's actually the 10th woman to lead the festival's prize-giving committee – even if men have done it on 57 other occasions – and shares the honour with some heady company: Jeanne Moreau, Françoise Sagan, Liv Ullmann, Sophia Loren. But as the only female winner, to date, of that top prize, it's the kind of honour that is her due.
As the festival gears up for its 67th edition,...
Jane Campion was the first woman to win a Palme d'Or and only the second ever to be nominated for the best director Oscar. So it comes as a surprise that her latest gig, as president of the Cannes film festival jury, isn't another act of pioneering gender breakthrough. She's actually the 10th woman to lead the festival's prize-giving committee – even if men have done it on 57 other occasions – and shares the honour with some heady company: Jeanne Moreau, Françoise Sagan, Liv Ullmann, Sophia Loren. But as the only female winner, to date, of that top prize, it's the kind of honour that is her due.
As the festival gears up for its 67th edition,...
- 5/12/2014
- by Andrew Pulver
- The Guardian - Film News
Six years after he died, the 'truth' over Yves Saint Laurent's hedonistic and tortured life is being fought over by two new films
In 2001, seven years before he died, Yves Saint Laurent agreed to be filmed by documentary-maker David Teboul for a rare behind-the-scenes look at his work. In the opening scene, watching a slideshow of family photographs, he grimaces: "J'ai joué le 'grand couturier'…" His voice is both sad and self-mocking; the voice of an old man looking back across a great distance at his frail 16-year-old self, head bowed over his lavishly dressed paper dolls.
Growing up in 1940s French Algeria, the young Yves Henri Donat Mathieu-Saint-Laurent dreamed of Paris: a bullied outcast at school, he escaped into fantasy at home – devouring his mother's fashion magazines, sketching endlessly, and predicting (in the safety of his adoring family circle, at least) a future of spectacular fame.
Six decades on,...
In 2001, seven years before he died, Yves Saint Laurent agreed to be filmed by documentary-maker David Teboul for a rare behind-the-scenes look at his work. In the opening scene, watching a slideshow of family photographs, he grimaces: "J'ai joué le 'grand couturier'…" His voice is both sad and self-mocking; the voice of an old man looking back across a great distance at his frail 16-year-old self, head bowed over his lavishly dressed paper dolls.
Growing up in 1940s French Algeria, the young Yves Henri Donat Mathieu-Saint-Laurent dreamed of Paris: a bullied outcast at school, he escaped into fantasy at home – devouring his mother's fashion magazines, sketching endlessly, and predicting (in the safety of his adoring family circle, at least) a future of spectacular fame.
Six decades on,...
- 3/2/2014
- The Guardian - Film News
Acclaimed New Zealand director, producer and screenwriter Jane Campion will succeed Steven Spielberg in presiding the Jury of the 2014 Festival de Cannes, it was announced yesterday. Campion has long been involved with the Festival, starting with her first attendance in 1986. .Since I first went to Cannes with my short films in 1986, I have had the opportunity to see the festival from many sides and my admiration for this Queen of film festivals has only grown larger. At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival's seriousness about the Art and excellence of new world cinema,. Campion said in the announcement published on the Cannes website. Campion is also the only female director to have won the Palme d.or for The Piano in 1993, adding to her 1986 Short Film Palme d.or for Peel.
- 1/8/2014
- by Emily Blatchford
- IF.com.au
Jane Campion, who remains the only female director to win the Palme d’or (for 1993′s The Piano), will head the jury at this year’s Cannes Film Festival. ” is a mythical and exciting festival where amazing things can happen, actors are discovered, films are financed, careers are made,” said Campion. “I know this because that is what happened to me!”
“We are immensely proud that Jane Campion has accepted our invitation,” said Thierry Frémaux, Cannes’ general delegate. “Following on from Michèle Morgan, Jeanne Moreau, Françoise Sagan, Isabelle Adjani, Liv Ullmann and Isabelle Huppert in 2009, she is the latest distinguished...
“We are immensely proud that Jane Campion has accepted our invitation,” said Thierry Frémaux, Cannes’ general delegate. “Following on from Michèle Morgan, Jeanne Moreau, Françoise Sagan, Isabelle Adjani, Liv Ullmann and Isabelle Huppert in 2009, she is the latest distinguished...
- 1/7/2014
- by Jeff Labrecque
- EW - Inside Movies
Jane Campion has been announced as the president of the jury of the next Cannes Film Festival.
The New Zealand-born director, screenwriter and producer succeeds Steven Spielberg in the role for this year's event, which takes place from May 14 to 25.
"Since I first went to Cannes with my short films in 1986 I have had the opportunity to see the festival from many sides and my admiration for this queen of film festivals has only grown larger," Campion said.
"At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival's seriousness about the art and excellence of new world cinema."
She added: "It is this world wide inclusiveness and passion for film at the heart of the festival which makes the importance of the Cannes Film Festival indisputable.
"It is a mythical and...
The New Zealand-born director, screenwriter and producer succeeds Steven Spielberg in the role for this year's event, which takes place from May 14 to 25.
"Since I first went to Cannes with my short films in 1986 I have had the opportunity to see the festival from many sides and my admiration for this queen of film festivals has only grown larger," Campion said.
"At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival's seriousness about the art and excellence of new world cinema."
She added: "It is this world wide inclusiveness and passion for film at the heart of the festival which makes the importance of the Cannes Film Festival indisputable.
"It is a mythical and...
- 1/7/2014
- Digital Spy
New Zealand director, producer and scriptwriter Jane Campion will preside over the Jury of the 67th Festival de Cannes, which will take place from 14 to 25 May 2014.
Campion said, “Since I first went to Cannes with my short films in 1986, I have had the opportunity to see the festival from many sides and my admiration for this Queen of film festivals has only grown larger. At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival’s seriousness about the Art and excellence of new world cinema.”
Jane Campion is the only female director to have won the Palme d’Or, for The Piano in 1993 and the Short Film Palme d’Or back in 1986 for Peel.
Thierry Frémaux, Cannes Delegate General, said: “We are immensely proud that Jane Campion has accepted our invitation.
Campion said, “Since I first went to Cannes with my short films in 1986, I have had the opportunity to see the festival from many sides and my admiration for this Queen of film festivals has only grown larger. At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival’s seriousness about the Art and excellence of new world cinema.”
Jane Campion is the only female director to have won the Palme d’Or, for The Piano in 1993 and the Short Film Palme d’Or back in 1986 for Peel.
Thierry Frémaux, Cannes Delegate General, said: “We are immensely proud that Jane Campion has accepted our invitation.
- 1/7/2014
- by NewsDesk
- DearCinema.com
Jane Campion has been announced as the jury president of the 67th Cannes Film Festival, running May 14-25, 2014. The unusually early announcement (last year it came at the end of February when Steven Spielberg was set as president) makes Campion the first female jury president since Isabelle Huppert in 2009, and the 10th in the festival's history (following Huppert, Olivia de Havilland, Sophia Loren, Michèle Morgan, Françoise Sagan, Ingrid Bergman, Jeanne Moreau, Liv Ullmann and Isabelle Adjani). Campion, notably, is the only female director to ever win the Palme d'Or at Cannes. Full press release below: The New Zealand director, producer and scriptwriter Jane Campion is to preside the Jury of the next Festival de Cannes, which will take place from 14 to 25 May 2014. "Since I first went to Cannes with my short films in 1986 – Campion says - I have had the opportunity to see the festival from many sides and my...
- 1/7/2014
- by Peter Knegt
- Indiewire
The New Zealand director, producer and scriptwriter will preside over the jury of the 67th Festival de Cannes, set to run from May 14-25.
“Since I first went to Cannes with my short films in 1986 I have had the opportunity to see the festival from many sides and my admiration for this queen of film festivals has only grown larger,” said Campion.
“At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival’s seriousness about the art and excellence of new world cinema.”
Campion remains the only female director to win the Palme d’Or, for The Piano in 1993. She won the short film Palme d’Or in 1986 for Peel.
“Once upon a time there was an unknown young director from Down Under who was no doubt proud enough that the Festival de Cannes was going to present...
“Since I first went to Cannes with my short films in 1986 I have had the opportunity to see the festival from many sides and my admiration for this queen of film festivals has only grown larger,” said Campion.
“At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival’s seriousness about the art and excellence of new world cinema.”
Campion remains the only female director to win the Palme d’Or, for The Piano in 1993. She won the short film Palme d’Or in 1986 for Peel.
“Once upon a time there was an unknown young director from Down Under who was no doubt proud enough that the Festival de Cannes was going to present...
- 1/7/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Carine Roitfeld, super stylist, former editor of French Vogue and now a global director of Harper's Bazaar, has spent decades reinventing the way we wear clothes. Now the subject of a documentary, she talks to Eva Wiseman about becoming a grandmother, fashion politics and why she's sharing her trade secrets
Carine Roitfeld smells of matches and burned vanilla, like the end of a birthday party. She orders a coffee in the elegant café next door to her Paris apartment, and when I tell her how good she smells she leans forward and says: "That is the most wonderful thing I could hear today." She is working on her own perfume, she explains. This is a test scent – "Still too sweet, no?" – and as we talk it fades into the café air, sugaring the things she says.
Roitfeld, the former editor of French Vogue, founder of her own magazine Cr, recently...
Carine Roitfeld smells of matches and burned vanilla, like the end of a birthday party. She orders a coffee in the elegant café next door to her Paris apartment, and when I tell her how good she smells she leans forward and says: "That is the most wonderful thing I could hear today." She is working on her own perfume, she explains. This is a test scent – "Still too sweet, no?" – and as we talk it fades into the café air, sugaring the things she says.
Roitfeld, the former editor of French Vogue, founder of her own magazine Cr, recently...
- 9/9/2013
- by Eva Wiseman
- The Guardian - Film News
In his final column for the Observer, our film critic welcomes the re-release of two influential classics from the late 1950s
What goes around comes around. Or "This is where we came in!", the words we'd whisper back in the days of continuous movie performances, before heading for the exit when we reached the point at which we'd entered the cinema. Appropriately in the week I write my final film column, two classic movies, Bonjour Tristesse (1958) and Plein Soleil (aka Purple Noon, 1959), are re-released from that period at the end of the 1950s when I was embarking on a career as a professional writer. Both appear in beautiful new prints that do full justice to the Mediterranean sun which dictates their mood of dangerous eroticism, and both are closely associated with what was popularly known as the French Nouvelle Vague. In the first of them an English-speaking cast play French...
What goes around comes around. Or "This is where we came in!", the words we'd whisper back in the days of continuous movie performances, before heading for the exit when we reached the point at which we'd entered the cinema. Appropriately in the week I write my final film column, two classic movies, Bonjour Tristesse (1958) and Plein Soleil (aka Purple Noon, 1959), are re-released from that period at the end of the 1950s when I was embarking on a career as a professional writer. Both appear in beautiful new prints that do full justice to the Mediterranean sun which dictates their mood of dangerous eroticism, and both are closely associated with what was popularly known as the French Nouvelle Vague. In the first of them an English-speaking cast play French...
- 8/31/2013
- by Philip French
- The Guardian - Film News
Otto Preminger's 1958 movie version of Françoise Sagan's scandalous novel has the potency and force of a compelling morality tale
Otto Preminger's 1958 movie version of Françoise Sagan's scandalous novel, now on national re-release, has the potency and force of a compelling morality tale. The modern-day sequences in Paris show gamine Cecile (Jean Seberg) enjoying an flirtatiously intimate and faintly incestuous relationship with her wealthy widower father, Raymond (David Niven), the sort of gadabout who tells his girlfriends "I adore you" instead of "I love you". Underneath the endless round of parties and nightclubs, there is a desperate, secret sadness, and Seberg's stare at the camera is haunting. These scenes are shot in black and white, as opposed to the rich, boiling colour in which the earlier period is shown. She remembers a golden summer on the Riviera; there, Cecile is content for her father to dally with...
Otto Preminger's 1958 movie version of Françoise Sagan's scandalous novel, now on national re-release, has the potency and force of a compelling morality tale. The modern-day sequences in Paris show gamine Cecile (Jean Seberg) enjoying an flirtatiously intimate and faintly incestuous relationship with her wealthy widower father, Raymond (David Niven), the sort of gadabout who tells his girlfriends "I adore you" instead of "I love you". Underneath the endless round of parties and nightclubs, there is a desperate, secret sadness, and Seberg's stare at the camera is haunting. These scenes are shot in black and white, as opposed to the rich, boiling colour in which the earlier period is shown. She remembers a golden summer on the Riviera; there, Cecile is content for her father to dally with...
- 8/30/2013
- by Peter Bradshaw
- The Guardian - Film News
Otto Preminger's classic ushered in a new wave of vibrant, Technicolour film-making
Renewed acquaintance with Otto Preminger's Bonjour Tristesse, after 30 years, compels me now to re-rank it above Anatomy of a Murder as the Austrian exile's supreme masterpiece. Based on Francoise Sagan's scandalous novel about an enfant terrible and her forbidden games on the sun-drenched French Riviera, it offers the most compelling performance the brittle and tragic Jean Seberg ever gave; and it showcases all of Preminger's virtuosity with CinemaScope framing and three-strip Technicolor.
Seberg is Cecile, half jaded sophisticate and seasoned casino denizen, half teenage naif and plotter, the over-indulged daughter of meretricious playboy Raymond (David Niven). Their emotional intimacy borders on the incestuous: they have "the perfect marriage," says Raymond's blowzy mistress Elsa, a remark humming with possibilities. The arrival of Raymond's new lover, Anne (Deborah Kerr), who clearly sees herself as a replacement for Cecile's dead mother,...
Renewed acquaintance with Otto Preminger's Bonjour Tristesse, after 30 years, compels me now to re-rank it above Anatomy of a Murder as the Austrian exile's supreme masterpiece. Based on Francoise Sagan's scandalous novel about an enfant terrible and her forbidden games on the sun-drenched French Riviera, it offers the most compelling performance the brittle and tragic Jean Seberg ever gave; and it showcases all of Preminger's virtuosity with CinemaScope framing and three-strip Technicolor.
Seberg is Cecile, half jaded sophisticate and seasoned casino denizen, half teenage naif and plotter, the over-indulged daughter of meretricious playboy Raymond (David Niven). Their emotional intimacy borders on the incestuous: they have "the perfect marriage," says Raymond's blowzy mistress Elsa, a remark humming with possibilities. The arrival of Raymond's new lover, Anne (Deborah Kerr), who clearly sees herself as a replacement for Cecile's dead mother,...
- 8/26/2013
- by John Patterson
- The Guardian - Film News
Latest Additions Include Star-Studded Appearances, Noted Film Historians,
An Opening-Night Poolside Screening of High Society (1956)
And a Vanity Fair Showcase of Architecture in Film
Complete Schedule for 2012 TCM Classic Film Festival
Now Available at http://www.tcm.com/festival
With just over two weeks left before opening day, the 2012 TCM Classic Film Festival continues to expand its already-packed slate with new events and live appearances:
On opening night of the festival, the Hollywood Roosevelt Hotel will be the site of a poolside screening of the lavish Cole Porter musical High Society (1956), starring Grace Kelly, Frank Sinatra and Bing Crosby. Actresses Maud Adams and Eunice Gayson will attend a 50th Anniversary screening of the James Bond classic Dr. No (1962) and participate in a conversation about being “Bond Girls.” Filmmaker Mel Brooks will be on hand to introduce his brilliant parody Young Frankenstein (1974). Filmmaker John Carpenter will introduce his favorite film, the...
An Opening-Night Poolside Screening of High Society (1956)
And a Vanity Fair Showcase of Architecture in Film
Complete Schedule for 2012 TCM Classic Film Festival
Now Available at http://www.tcm.com/festival
With just over two weeks left before opening day, the 2012 TCM Classic Film Festival continues to expand its already-packed slate with new events and live appearances:
On opening night of the festival, the Hollywood Roosevelt Hotel will be the site of a poolside screening of the lavish Cole Porter musical High Society (1956), starring Grace Kelly, Frank Sinatra and Bing Crosby. Actresses Maud Adams and Eunice Gayson will attend a 50th Anniversary screening of the James Bond classic Dr. No (1962) and participate in a conversation about being “Bond Girls.” Filmmaker Mel Brooks will be on hand to introduce his brilliant parody Young Frankenstein (1974). Filmmaker John Carpenter will introduce his favorite film, the...
- 3/28/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Veteran actress Vanessa Redgrave was recently under doctors' orders to rest amid fears she was suffering pneumonia.
The star is preparing to bring her Broadway production of Driving Miss Daisy to London's West End later this month, but she has been forced to slow down rehearsals for the sake of her health.
But despite suffering a hacking cough, Redgrave is refusing to give up her favourite vice - cigarettes.
In an interview with Britain's The Guardian newspaper during which she lights up, the actress reveals, "Oh, write about it (the smoking) if you want. But it sets a bad example, and I hate being a bad example. My doctor will be horrified.
"I'm an absolute addict. I only started smoking because I read a newspaper article when I was 24 in which Francoise Sagan was asked what she had for breakfast. What did she have? A cup of black of coffee and a (French cigarette brand) Gauloise."
Redgrave admits her health battle is likely to affect her stage stint, adding: "(I have) very diminished energy with which I've got to start rehearsals."...
The star is preparing to bring her Broadway production of Driving Miss Daisy to London's West End later this month, but she has been forced to slow down rehearsals for the sake of her health.
But despite suffering a hacking cough, Redgrave is refusing to give up her favourite vice - cigarettes.
In an interview with Britain's The Guardian newspaper during which she lights up, the actress reveals, "Oh, write about it (the smoking) if you want. But it sets a bad example, and I hate being a bad example. My doctor will be horrified.
"I'm an absolute addict. I only started smoking because I read a newspaper article when I was 24 in which Francoise Sagan was asked what she had for breakfast. What did she have? A cup of black of coffee and a (French cigarette brand) Gauloise."
Redgrave admits her health battle is likely to affect her stage stint, adding: "(I have) very diminished energy with which I've got to start rehearsals."...
- 9/10/2011
- WENN
Legendary actor and life-long activist Vanessa Redgrave on bad habits, brother Corin and why the battle for the beleaguered Travellers of Dale Farm matters so much to her
When Corin Redgrave suffered a heart attack while pleading with councillors not to evict Travellers from Dale Farm in Essex in summer 2005, his sister, Vanessa, was thousands of miles away in the Us. "If it wasn't for a Traveller giving him mouth to mouth, he would have died," she says. "As it was he had such loss of oxygen to his brain that he had extreme short-term memory loss. Forty Travellers came to the Basildon hospital to pray for him."
So is her current support for the Travellers due to be evicted from Dale Farm later this month to honour her dead brother? "Oh very, very, very much so. The Dale Farm Travellers are inseparable from him for me. It's totally personal.
When Corin Redgrave suffered a heart attack while pleading with councillors not to evict Travellers from Dale Farm in Essex in summer 2005, his sister, Vanessa, was thousands of miles away in the Us. "If it wasn't for a Traveller giving him mouth to mouth, he would have died," she says. "As it was he had such loss of oxygen to his brain that he had extreme short-term memory loss. Forty Travellers came to the Basildon hospital to pray for him."
So is her current support for the Travellers due to be evicted from Dale Farm later this month to honour her dead brother? "Oh very, very, very much so. The Dale Farm Travellers are inseparable from him for me. It's totally personal.
- 9/9/2011
- by Stuart Jeffries
- The Guardian - Film News
From left to right: Stephen Sondheim, Arthur Laurents, Hal Prince, Robert Griffith, Leonard Bernstein and Jerome Robbins
Updated through 5/9.
"Arthur Laurents, the playwright, screenwriter and director who wrote and ultimately transformed two of Broadway's landmark shows, Gypsy and West Side Story, and created one of Hollywood's most well-known romances, The Way We Were, died on Thursday at his home in Manhattan," reports Robert Berkvist in the New York Times. "He was 93."
Regarding West Side Story, "Mr Laurents's book gave a contemporary spin to the tale of Romeo and Juliet. The Montagues and the Capulets, the families of the doomed young lovers, were now represented by the Jets and the Sharks, warring street gangs in Manhattan. It was a plot device that had been discussed several years earlier by Mr Laurents, the director and choreographer Jerome Robbins and the composer Leonard Bernstein. Initially, Bernstein was to have written both the music and lyrics,...
Updated through 5/9.
"Arthur Laurents, the playwright, screenwriter and director who wrote and ultimately transformed two of Broadway's landmark shows, Gypsy and West Side Story, and created one of Hollywood's most well-known romances, The Way We Were, died on Thursday at his home in Manhattan," reports Robert Berkvist in the New York Times. "He was 93."
Regarding West Side Story, "Mr Laurents's book gave a contemporary spin to the tale of Romeo and Juliet. The Montagues and the Capulets, the families of the doomed young lovers, were now represented by the Jets and the Sharks, warring street gangs in Manhattan. It was a plot device that had been discussed several years earlier by Mr Laurents, the director and choreographer Jerome Robbins and the composer Leonard Bernstein. Initially, Bernstein was to have written both the music and lyrics,...
- 5/9/2011
- MUBI
It was inevitable that Chabrol, "the French Hitchcock," to allow for a moment that utterly inaccurate sobriquet, would at some point tackle the most famous of French murderers, the real-life Bluebeard who murdered ten women (plus one child). Perhaps too inevitable: the task may have felt like an obligation. So it's probably good that M. Chabrol took the plunge relatively early in his career, when he was barely typed as a master of crime movies. And indeed, Landru (1963) is more black comedy than thriller.
At first, this seems curious: hadn't Chaplin already made a comedic version of the "Bluebeard" case, one that was rather highly regarded in France? But Chabrol, working with screenwriter Françoise Sagan, has his reasons. Firstly, his version differs from Chaplin's by telling the story relatively faithfully, without changing character names or crucial facts. Secondly, it's tonal similarity (although really, the sense of humor displayed is quite...
At first, this seems curious: hadn't Chaplin already made a comedic version of the "Bluebeard" case, one that was rather highly regarded in France? But Chabrol, working with screenwriter Françoise Sagan, has his reasons. Firstly, his version differs from Chaplin's by telling the story relatively faithfully, without changing character names or crucial facts. Secondly, it's tonal similarity (although really, the sense of humor displayed is quite...
- 1/6/2011
- MUBI
Claude Chabrol, who died Sunday, Sept. 12 at 80, was a founder of the New Wave and a giant of French cinema. This interview, which took place during the 1970 New York Film Festival, shows him at midpoint in his life, just as he had emerged from a period of neglect and was making some of his best films.
Claude Chabrol's "This Man Must Die" is advertised as a thriller, but I found it more of a macabre study of human behavior. There's no doubt as to the villain's identity, and little doubt that he will die (although how he dies is left deliciously ambiguous).
Unlike previous masters of thrillers like Hitchcock, Chabrol goes for mood and tone more than for plot. You get the notion that his killings and revenges are choreographed for a terribly observant camera and an ear that hears the slightest change in human speech.
For this reason,...
Claude Chabrol's "This Man Must Die" is advertised as a thriller, but I found it more of a macabre study of human behavior. There's no doubt as to the villain's identity, and little doubt that he will die (although how he dies is left deliciously ambiguous).
Unlike previous masters of thrillers like Hitchcock, Chabrol goes for mood and tone more than for plot. You get the notion that his killings and revenges are choreographed for a terribly observant camera and an ear that hears the slightest change in human speech.
For this reason,...
- 9/12/2010
- by Roger Ebert
- blogs.suntimes.com/ebert
School's out, so let our guest experts help you make the most of the British summer. Here's what to watch, what to listen to, what to read, how to picnic to perfection, and how to find the best beaches
How to spot a good beach by Hugh Graham
The editor of Time Out's Seaside Guide suggests 10 ways to know you've found the perfect beach:
1) Crashing waves
The appropriately named Hell's Mouth in north Wales puts on quite a show, as do Freshwater West (Pembrokeshire) and Sennen Cove (Cornwall).
2) Great views
The views above Rhossili Bay, a sublime Welsh strand on the Gower, rival the world's great coastal vistas.
3) Caribbean feel
In the sunshine, the turquoise seas and talcum-powder sand at Luskentyre, on the Hebridean island of Harris, are almost Bahamian.
4) Crag action
I love a bit of cragginess. Bedruthan Steps in north Cornwall takes rugged good looks to extremes.
5) Sand...
How to spot a good beach by Hugh Graham
The editor of Time Out's Seaside Guide suggests 10 ways to know you've found the perfect beach:
1) Crashing waves
The appropriately named Hell's Mouth in north Wales puts on quite a show, as do Freshwater West (Pembrokeshire) and Sennen Cove (Cornwall).
2) Great views
The views above Rhossili Bay, a sublime Welsh strand on the Gower, rival the world's great coastal vistas.
3) Caribbean feel
In the sunshine, the turquoise seas and talcum-powder sand at Luskentyre, on the Hebridean island of Harris, are almost Bahamian.
4) Crag action
I love a bit of cragginess. Bedruthan Steps in north Cornwall takes rugged good looks to extremes.
5) Sand...
- 7/24/2010
- by Mariella Frostrup, David Nicholls
- The Guardian - Film News
Films about fathers and daughters from recent decades generally end up in predictably musty places: the proud, old-fashioned father is awkward about his daughter growing up (Father of the Bride, What a Girl Wants), or, the daughter, generally a younger girl, wishes to reunite her father with his wife or girlfriend (Parent Trap, Definitely Maybe) so that they can all live happily ever after. Among films of the last few decades, only Paper Moon stands out as portraying a daughter who took her bond with her father as central and did everything she could to sabotage his other relationships. One film to have previously done so, Bonjour Tristesse, was closely based on the 1954 number one best-selling coming-of-age novel by 18-year-old Francoise Sagan. Despite being dismissed by most critics, the book had been a sensation for its young...
- 4/16/2010
- by Patricia Zohn
- Huffington Post
We don’t have many reasons to dwell on French cinema here at Boxwish, but give us the chance and we happily seize it; and throw make-up into the mix and we’re there with bells on. So consider us bell-tastic as we tell you that luxury make-up brand, Nars will introduce a spring collection inspired by 1968’s French favourite, La Chamade. For those not into Gallic goodies or too young for such retro treats, La Chamade was based on the play by famed French writer Françoise Sagan and starred the always gorgeous Catherine Deneuve (pictured) opposite her frequent co-star Michel Piccoli in a tale of lost love (woman falls for working class man, prefers money to love and ditches him for someone wealthy). And it is this past treasure that has influenced the latest from the cosmetics brand.
- 12/3/2009
- Boxwish.com
Home safe and tidy, Siobhan takes wistful inventory of what she'll miss about Paris (the grace-note civilities, the sight of the Seine, the sky staying light late into the evening) and what she won't (the haughty lollygaggers who form a Maginot line at every thoroughfare). Unable to visit Paris until my "schedule" clears (assuming the dollar is still a viable currency of exchange in 2011), I will console myself with Douglas Hofstadter's translation of Francoise Sagan's That Mad Ache (I walk the earth in quest of finding a kindred soul who shares my intense infatuation with Sagan's Aimez-vous Brahms?), which comes packaged with an extended bonus essay by Hofstadter on the intricacies and paradoxes of translation. Oh, I know, you think the fiction I exclusively groove to are transgressive first-person tales spiked with drug overdoses, gender-bending, and autoerotic asphyxiation, but you couldn't be more wrong.
- 5/26/2009
- Vanity Fair
Loathe as I am to say anything on my own behalf and call attention to my endeavors (like Burt Reynolds, I studied humility under Gene Barry), I have a few items on the table that may be of interest to you, if you have a caring bone in your body and a heart open to joy and wonder. First: Travel with me along the subway tracks through the station stops of reverie to visit the archeological ruins of the New York Dolls as they reunite and reanimate for a concert at what was once Cbgb's. Why? 'Cause I Sez So. Second: Shift your eyeballs left and you may note that under my writings can be found the paperback and Kindle edition of my novel The Catsitters, into which I poured all of my anger, pain, thwarted lust, bitter sorrow, and profound disillusionment, then poured it out again and refilled the...
- 5/14/2009
- Vanity Fair
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