Thanks to National Cinema Day, consider this week’s box office report to be a work in progress. For the second year, on a late summer Sunday, the National Association of Theater Owners declared a day of deeply discounted tickets.
With Sunday’s grosses all estimates, those $4 admissions will skew results. — inclduing whether “Gran Turismo” (Sony) or “Barbie” (Warner Bros.) will be #1. Sony claimed $17.3 million; Warners countered with $17.1 million. To be clear, that means WB believes Greta Gerwig’s blockbuster (now over $590 million domestic) gross will increase by 45 percent from Saturday to Sunday over Saturday; Sony has a much more modest increase for “Turismo,” up six percent.
That’s a big leap of faith on Warners’ part. They’re guessing that the top film of the year also will engender the biggest interest in $4 tickets. (What better day to see it again?) Sony’s weekend estimates for “Gran Turismo” include...
With Sunday’s grosses all estimates, those $4 admissions will skew results. — inclduing whether “Gran Turismo” (Sony) or “Barbie” (Warner Bros.) will be #1. Sony claimed $17.3 million; Warners countered with $17.1 million. To be clear, that means WB believes Greta Gerwig’s blockbuster (now over $590 million domestic) gross will increase by 45 percent from Saturday to Sunday over Saturday; Sony has a much more modest increase for “Turismo,” up six percent.
That’s a big leap of faith on Warners’ part. They’re guessing that the top film of the year also will engender the biggest interest in $4 tickets. (What better day to see it again?) Sony’s weekend estimates for “Gran Turismo” include...
- 8/27/2023
- by Tom Brueggemann
- Indiewire
In A24’s Bodies Bodies Bodies, a clique of privileged twentysomethings retreats to an upstate New York manor to ride out a hurricane in style. They’re soon being bumped off one by one in a Gen Z variation of Agatha Christie. It’s basically 10 Little Influencers, a slasher-esque satire shot with glow stick-fueled style by Dutch cinematographer Jasper Wolf. With the movie now out on physical media and VOD, Wolf spoke to Filmmaker about using film tests to create digital LUTs, stressing out the prop master with an array of actor-wielded flashlights and using characters’ emotions rather than practical sources to […]
The post Building LUTs From 35mm Tests: Dp Jasper Wolf on Bodies Bodies Bodies first appeared on Filmmaker Magazine.
The post Building LUTs From 35mm Tests: Dp Jasper Wolf on Bodies Bodies Bodies first appeared on Filmmaker Magazine.
- 10/20/2022
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
In A24’s Bodies Bodies Bodies, a clique of privileged twentysomethings retreats to an upstate New York manor to ride out a hurricane in style. They’re soon being bumped off one by one in a Gen Z variation of Agatha Christie. It’s basically 10 Little Influencers, a slasher-esque satire shot with glow stick-fueled style by Dutch cinematographer Jasper Wolf. With the movie now out on physical media and VOD, Wolf spoke to Filmmaker about using film tests to create digital LUTs, stressing out the prop master with an array of actor-wielded flashlights and using characters’ emotions rather than practical sources to […]
The post Building LUTs From 35mm Tests: Dp Jasper Wolf on Bodies Bodies Bodies first appeared on Filmmaker Magazine.
The post Building LUTs From 35mm Tests: Dp Jasper Wolf on Bodies Bodies Bodies first appeared on Filmmaker Magazine.
- 10/20/2022
- by Matt Mulcahey
- Filmmaker Magazine - Blog
Dir: Halina Reijn. Starring: Amandla Stenberg, Maria Bakalova, Myha’la Herrold, Chase Sui Wonders, Rachel Sennott, Lee Pace, Pete Davidson. 15, 94 minutes.
Bodies Bodies Bodies is a slasher flick written in Generation Z code – blase, bitter, and bloody. A small coven of recent college graduates meet at the manor home of one of their parents, all waiting out an incoming hurricane. They are the newly sober Sophie (Amandla Stenberg), her best friend David (Pete Davidson), David’s actress girlfriend Emma (Chase Sui Wonders), the friend group parent Jordan (Myha’la Herrold), and Alice (Rachel Sennott), who describes her recently launched podcast as like “hanging out with your smartest, funniest friend”.
Then, a round of a murder mystery party game called Bodies Bodies Bodies – not unlike Mafia – ends with a real corpse out on the patio. The ensuing mayhem triggers an apocalyptic crisis of the ego, where personal slights blow up into Judas...
Bodies Bodies Bodies is a slasher flick written in Generation Z code – blase, bitter, and bloody. A small coven of recent college graduates meet at the manor home of one of their parents, all waiting out an incoming hurricane. They are the newly sober Sophie (Amandla Stenberg), her best friend David (Pete Davidson), David’s actress girlfriend Emma (Chase Sui Wonders), the friend group parent Jordan (Myha’la Herrold), and Alice (Rachel Sennott), who describes her recently launched podcast as like “hanging out with your smartest, funniest friend”.
Then, a round of a murder mystery party game called Bodies Bodies Bodies – not unlike Mafia – ends with a real corpse out on the patio. The ensuing mayhem triggers an apocalyptic crisis of the ego, where personal slights blow up into Judas...
- 9/8/2022
- by Clarisse Loughrey
- The Independent - Film
In "Bodies Bodies Bodies," Rachel Sennott plays Alice, who just wants to have a good time with Greg (Lee Pace). She does not get her wish in Halina Reijn's A24 horror-comedy, in which no one is safe. Characters drink, ingest drugs, and all their inner fears begin to tear everyone to pieces. Even before bodies start dropping, anxiety runs high in the film.
One of the drunkest characters, as Rachel Sennott confirmed to us in an interview, is Alice. The movie walks right up to the line of poking fun at its intoxicated characters, but every once in a while, there's a moment where Reijn reminds audiences, "Hey, these are people, too." Those moments often result in laughter, and recently, the star of the great "Shiva Baby" spoke to us about bringing her character to life with authenticity and humor.
'The Words Become Weapons'
Halina said she had you...
One of the drunkest characters, as Rachel Sennott confirmed to us in an interview, is Alice. The movie walks right up to the line of poking fun at its intoxicated characters, but every once in a while, there's a moment where Reijn reminds audiences, "Hey, these are people, too." Those moments often result in laughter, and recently, the star of the great "Shiva Baby" spoke to us about bringing her character to life with authenticity and humor.
'The Words Become Weapons'
Halina said she had you...
- 8/12/2022
- by Jack Giroux
- Slash Film
Though they both boast impressive filmographies at a young age, neither Maria Bakalova or Amandla Stenberg had appeared in a horror film before. That all changes with the Aug. 5 release of “Bodies Bodies Bodies,” a smart and funny slasher film from A24 in which a group of frienemies find themselves dropping one by one while trapped in a remote mansion during a storm. An Agatha Christie-style murder mystery set amongst Gen Z, the characters in Halina Reijn’s American directorial debut have to try and look up from their phones long enough to figure out who’s doing the killing.
Bakalova and Stenberg star as Bee and Sophie, a fairly new couple with a notable class divide – working class Bee doesn’t quite fit in with Sophie’s spoiled and entitled crowd. Variety spoke to the actors about taking on the horror medium, scary films as “exposure therapy” and...
Bakalova and Stenberg star as Bee and Sophie, a fairly new couple with a notable class divide – working class Bee doesn’t quite fit in with Sophie’s spoiled and entitled crowd. Variety spoke to the actors about taking on the horror medium, scary films as “exposure therapy” and...
- 8/2/2022
- by Jenelle Riley
- Variety Film + TV
There’s a moment in Halina Reijin’s raucous new film “Bodies Bodies Bodies” in which a frustrated Pete Davidson steps away from the ongoing rich kids party taking place in his secluded mansion, and — with a brazen self-awareness of his fuckboi persona — exclaims, “I look like I fuck. It’s my whole vibe.” Davidson plays David, the hot-headed, acid-humored, toxic male personality who serves as the catalyst for a night of mayhem. While Davidson is a scene stealer, he’s not not the focal point of a film wherein relationships disintegrate, faux activism is lampooned, and murder ensues.
“Bodies Bodies Bodies” tells the story of Bee (Maria Bakalova) and Sophie (Amandla Stenberg); two young women in a six-week relationship caught in the liminal space between casual and serious. The first shot of the film, in fact, is a close-up of the pair kissing, transitioning to them rolling in the grass.
“Bodies Bodies Bodies” tells the story of Bee (Maria Bakalova) and Sophie (Amandla Stenberg); two young women in a six-week relationship caught in the liminal space between casual and serious. The first shot of the film, in fact, is a close-up of the pair kissing, transitioning to them rolling in the grass.
- 3/15/2022
- by Robert Daniels
- Indiewire
The friend group at the center of Halina Reijn’s hair-raising feature Bodies Bodies Bodies is a toxic bunch.
They, of course, would vehemently reject that characterization. So sharply drawn are these characters that I can hear them now. David (Pete Davidson), the perpetually coked-out friend, would be defensive: “What do you mean by toxic? Did you get that off Twitter?” His girlfriend, Emma (Chase Sui Wonders), who can’t go 30 seconds without reminding everyone she’s an actress, would issue a correction: “I’m not toxic, I’m an empath.” Alice (Rachel Sennott), the legitimately dramatic one, might be more understanding: “I mean … we have done toxic things.” Jordan (Myha’la Herrold), the type-a one who defines herself by her differences from her friends, would roll her eyes. Sophie (Amandla Stenberg), a recovering addict and the worst at keeping up with the group chat, would smile coyly — if she even reacted at all.
They, of course, would vehemently reject that characterization. So sharply drawn are these characters that I can hear them now. David (Pete Davidson), the perpetually coked-out friend, would be defensive: “What do you mean by toxic? Did you get that off Twitter?” His girlfriend, Emma (Chase Sui Wonders), who can’t go 30 seconds without reminding everyone she’s an actress, would issue a correction: “I’m not toxic, I’m an empath.” Alice (Rachel Sennott), the legitimately dramatic one, might be more understanding: “I mean … we have done toxic things.” Jordan (Myha’la Herrold), the type-a one who defines herself by her differences from her friends, would roll her eyes. Sophie (Amandla Stenberg), a recovering addict and the worst at keeping up with the group chat, would smile coyly — if she even reacted at all.
- 3/15/2022
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
Five bored young billionaires become vampires in “Dead & Beautiful,” a middling horror-thriller and social satire that opens with an intriguing premise but never probes its cashed-up characters deeply enough to create gripping drama from the heightened hedonism or existential crises they experience after acquiring new powers. Slickly photographed in a neon-drenched Taipei and featuring an attractive young cast, this riff on the eternal tale by Dutch filmmaker David Verbeek scores early points by drawing parallels between mythological vampirism and the modern metaphorical vampirism of rich elites before losing its sting and meandering toward an unsurprising “surprise” conclusion. After notching appearances at festivals including Rotterdam, Sitges and Fantastic Fest, “Dead & Beautiful” releases Nov. 4 in North America and the U.K. on genre streaming platform Shudder.
These rich young things deal with the burden of being unbelievably wealthy and incredibly bored by taking turns to arrange pranks and experiences that...
These rich young things deal with the burden of being unbelievably wealthy and incredibly bored by taking turns to arrange pranks and experiences that...
- 11/4/2021
- by Richard Kuipers
- Variety Film + TV
Back in Rotterdam with his Taiwanese-Dutch production Dead & Beautiful, the IFFR regular David Verbeek had a world premiere of his genre-bending drama (which screened in the Limelight section) whose plot centers around five uber-rich young people and their attempts to feel real life by “taking turns”.
Dead and Beautiful screened at International Film Festival Rotterdam
The rules of the game are allegedly simple. “Turns” happen on weekends, when one of the five tries to impress the rest of the gang by organizing an unforgettable, unique experience. Any genuine emotion – extreme happiness, deep fear or immense sadness is a welcome reaction. But, it turns out that it’s very difficult to impress a billionaire, and almost impossible to impress four billionaires at the same time. Money alone isn’t enough to ignite fire in any of them, and the race for the best show begins.
Verbeek came up with the...
Dead and Beautiful screened at International Film Festival Rotterdam
The rules of the game are allegedly simple. “Turns” happen on weekends, when one of the five tries to impress the rest of the gang by organizing an unforgettable, unique experience. Any genuine emotion – extreme happiness, deep fear or immense sadness is a welcome reaction. But, it turns out that it’s very difficult to impress a billionaire, and almost impossible to impress four billionaires at the same time. Money alone isn’t enough to ignite fire in any of them, and the race for the best show begins.
Verbeek came up with the...
- 2/9/2021
- by Marina D. Richter
- AsianMoviePulse
‘Money Heist’ scooped the most awards in the TV categories.
Pedro Almodovar’s Pain And Glory swept the Platino Xcaret Awards for Ibero-American films on June 29 winning six trophies including best Ibero-American film.
Almodovar was also awarded best director and best screenplay while Antonio Banderas - who was Oscar-nominated for his performance and won the actor prize at Cannes - picked up best actor. The film also won best editing for the work of Teresa Font, and best original score, for composer Alberto Iglesias.
The awards were originally meant to take place in Riviera Maya, Mexico, in early May but...
Pedro Almodovar’s Pain And Glory swept the Platino Xcaret Awards for Ibero-American films on June 29 winning six trophies including best Ibero-American film.
Almodovar was also awarded best director and best screenplay while Antonio Banderas - who was Oscar-nominated for his performance and won the actor prize at Cannes - picked up best actor. The film also won best editing for the work of Teresa Font, and best original score, for composer Alberto Iglesias.
The awards were originally meant to take place in Riviera Maya, Mexico, in early May but...
- 6/30/2020
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
Pedro Almodóvar’s “Pain and Glory” swept the 7th Platino Xcaret Awards, winning best Ibero-American film, as well as the best director and screenplay for Almodovar. It also took home three other awards: Original music for Alberto Iglesias, editing for Teresa Font and best actor for Antonio Banderas, Oscar-nominated for his role in Almodóvar’s semi-autobiographical opus.
Relegated to an online announcement by the Covid-19 pandemic, Ibero-America’s most prestigious awards ceremony unveiled the winners on its YouTube channel on Monday, June 29 where Platinos ambassador and CNN Español journalist Juan Carlos Arciniegas teamed up with Mexican actor-comedian Omar Chaparro and Colombian actress-singer Majida Issa to read out the winners.
Enrique Cerezo, president of the Premios Xcaret, said: “We regret that we couldn’t be present on site because of a nightmare we hope to wake up from soon.”
It was a banner year for Spanish productions which went home with...
Relegated to an online announcement by the Covid-19 pandemic, Ibero-America’s most prestigious awards ceremony unveiled the winners on its YouTube channel on Monday, June 29 where Platinos ambassador and CNN Español journalist Juan Carlos Arciniegas teamed up with Mexican actor-comedian Omar Chaparro and Colombian actress-singer Majida Issa to read out the winners.
Enrique Cerezo, president of the Premios Xcaret, said: “We regret that we couldn’t be present on site because of a nightmare we hope to wake up from soon.”
It was a banner year for Spanish productions which went home with...
- 6/29/2020
- by Anna Marie de la Fuente
- Variety Film + TV
AMC Networks’ streaming service Shudder has acquired the genre thriller “Dead & Beautiful,” directed prominent Dutch filmmaker David Verbeek (“Full Contact”), for the U.S., Canada, U.K., Ireland, Australia and New Zealand. The film is represented in international territories by Indie Sales.
Verbeek’s seventh feature “Dead & Beautiful” follows a group of young and spoiled teenagers in an Asian megalopolis who turn into vampires after a night of partying. Bewildered at first, the group realizes they feel even stronger, more attractive and more invincible than ever before, but it quickly dawns on them that they can no longer trust each other. “Dead & Beautiful” was lensed by Jasper Wolf (“Monos”).
Verbeek’s credits include “R U There,” which played at Cannes’ Un Certain Regard in 2010, and “Full Contact,” which competed at Toronto in the inaugural Platform Section in 2015. “Dead & Beautiful” was produced by Lemming Film.
“Shudder has been following David’s...
Verbeek’s seventh feature “Dead & Beautiful” follows a group of young and spoiled teenagers in an Asian megalopolis who turn into vampires after a night of partying. Bewildered at first, the group realizes they feel even stronger, more attractive and more invincible than ever before, but it quickly dawns on them that they can no longer trust each other. “Dead & Beautiful” was lensed by Jasper Wolf (“Monos”).
Verbeek’s credits include “R U There,” which played at Cannes’ Un Certain Regard in 2010, and “Full Contact,” which competed at Toronto in the inaugural Platform Section in 2015. “Dead & Beautiful” was produced by Lemming Film.
“Shudder has been following David’s...
- 2/20/2020
- by Elsa Keslassy
- Variety Film + TV
Yesterday saw a deluge of precursor results hit the Oscar race, including one of the biggest Guilds chiming in. Obviously, we know already that last night the Directors Guild of America gave their top prize to Sam Mendes for 1917, but Saturday evening also saw the American Society of Cinematographers Awards, the Annie Awards, the Cinema Audio Society Awards, and the USC Scripter Awards, in addition to the Directors Guild of America Awards. Below, we’ll run down the results of the various shows, though obviously we already covered DGA in a previous post. Together, you can begin to piece together more of the awards season, as the races head into the home stretch… First up, the Asc results: Theatrical Release Roger Deakins, Asc, Bsc for “1917” – Winner Phedon Papamichael, Asc, Gsc for “Ford v Ferrari” Rodrigo Prieto, Asc, AMC for “The Irishman” Robert Richardson, Asc for “Once Upon a Time in Hollywood” Lawrence Sher,...
- 1/26/2020
- by Joey Magidson
- Hollywoodnews.com
Cinematographer Roger Deakins won the top prize Saturday night at the 34th annual Asc Awards (at the Ray Dolby Ballroom at Hollywood & Highland) for his bravura camera work on “1917,” the continuous-shot, World War I extravaganza, directed by Sam Mendes.
Deakins beat Phedon Papamichael (“Ford v Ferrari”), Rodrigo Prieto (“The Irishman”), Robert Richardson (“Once Upon a Time in Hollywood”), and Lawrence Sher (“Joker”). The latter three are Oscar-nominated with Deakins. The fifth nominee, Jarin Blaschke (“The Lighthouse”), earned the Asc Spotlight Award for his gritty, Gothic-looking black-and-white cinematography.
Additionally, Fejmi Daut and Samir Ljuma took the Asc Documentary category for “Honeyland.”
Given the Best Picture momentum and universal acclaim for the technical feat, Deakins moves a step closer to his second Oscar. He finally landed his first with “Blade Runner 2049″ after 14 Academy Award nominations. Deakins leads the Asc with five wins.
“1917” is not only the tour de force of the season,...
Deakins beat Phedon Papamichael (“Ford v Ferrari”), Rodrigo Prieto (“The Irishman”), Robert Richardson (“Once Upon a Time in Hollywood”), and Lawrence Sher (“Joker”). The latter three are Oscar-nominated with Deakins. The fifth nominee, Jarin Blaschke (“The Lighthouse”), earned the Asc Spotlight Award for his gritty, Gothic-looking black-and-white cinematography.
Additionally, Fejmi Daut and Samir Ljuma took the Asc Documentary category for “Honeyland.”
Given the Best Picture momentum and universal acclaim for the technical feat, Deakins moves a step closer to his second Oscar. He finally landed his first with “Blade Runner 2049″ after 14 Academy Award nominations. Deakins leads the Asc with five wins.
“1917” is not only the tour de force of the season,...
- 1/26/2020
- by Bill Desowitz
- Indiewire
Four of the five nominees at Saturday’s 34th American Society of Cinematographers ceremony matched up with the Oscar list for Best Cinematography: Rodrigo Prieto for “The Irishman,” Lawrence Sher for “Joker,” Roger Deakins for “1917” and Robert Richardson for “Once Upon a Time in Hollywood.” The guild’s fifth nominee was Phedon Papamichael for “Ford v Ferrari,” while the Oscar’s fifth choice is Jarin Blaschke for “The Lighthouse.” Scroll down to see who won all of the film and TV categories at the 2020 Asc Awards, which took place January 25 at the Hollywood & Highland Center in a ceremony hosted by Ben Mankiewicz.
SEEJanuary 25 is busiest day on 2020 Oscars calendar: DGA Awards plus cinematographers, sound mixers and Annies
Blaschke did pop up in the Spotlight Award category, which honors movies that screen at festivals, internationally, or in limited release. He was joined there by Natasha Braier for “Honey Boy” and Jasper Wolf for “Monos.
SEEJanuary 25 is busiest day on 2020 Oscars calendar: DGA Awards plus cinematographers, sound mixers and Annies
Blaschke did pop up in the Spotlight Award category, which honors movies that screen at festivals, internationally, or in limited release. He was joined there by Natasha Braier for “Honey Boy” and Jasper Wolf for “Monos.
- 1/26/2020
- by Marcus James Dixon
- Gold Derby
The American Society of Cinematographers nominees announced on January 3 include four of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Roger Deakins for “1917” — as well as Rodrigo Prieto for “The Irishman,” Robert Richardson for “Once Upon a Time in Hollywood” and Lawrence Sher for “Joker.” The fifth Asc nominee, instead of “The Lighthouse” cinematographer Jarin Blaschke, was Phedon Papamichael for the racing drama “Ford v Ferrari.”
But Blaschke wasn’t snubbed. He did receive a nomination in the Spotlight Award category, which honors films that screen at festivals, internationally, or in limited release. He’s joined there by just two other nominees: Natasha Braier (“Honey Boy”) and Jasper Wolf (“Monos”). Though it must be noted that “The Lighthouse” actually grossed more domestically than “Cold War,” the Polish film that won last year’s top prize and not a separate race for limited-release movies.
Over its 33-year history,...
But Blaschke wasn’t snubbed. He did receive a nomination in the Spotlight Award category, which honors films that screen at festivals, internationally, or in limited release. He’s joined there by just two other nominees: Natasha Braier (“Honey Boy”) and Jasper Wolf (“Monos”). Though it must be noted that “The Lighthouse” actually grossed more domestically than “Cold War,” the Polish film that won last year’s top prize and not a separate race for limited-release movies.
Over its 33-year history,...
- 1/3/2020
- by Daniel Montgomery
- Gold Derby
Moments ago, the American Society of Cinematographers announced their latest crop of nominations. They’re among the strongest predictors of what the five nominees at the Academy Awards will be in Best Cinematography, so pay attention to them. Also, we saw earlier this week the Casting Society of America chime in, so we can update our precursors today! First up, the American Society of Cinematographers let loose with their 34th annual Asc nominations. Oscar doesn’t always correlate five for five here, but these contenders just got a real leg up in the race that’s for sure. So, take a look below and expect at least three, and likely four (don’t sleep on Lawrence Sher for Joker), of these cinematographers to be among the next crop of Dp nominees at the Academy Awards. Here are the Asc nominees: 1917 – Roger Deakins Ford v Ferrari – Phedon Papamichael The Irishman – Rodrigo...
- 1/3/2020
- by Joey Magidson
- Hollywoodnews.com
Roger Deakins (“1917”) will compete against theatrical cinematographers Phedon Papamichael (“Ford v Ferrari”), Rodrigo Prieto (“The Irishman”), Robert Richardson (“Once Upon a Time in Hollywood”), and Lawrence Sher (“Joker”) in the 34th annual Asc Awards. They will be held January 25 at the Ray Dolby Ballroom at Hollywood & Highland.
Additionally, competing for the indie Spotlight Award were first-time nominees Jarin Blaschke (“The Lighthouse”), Natasha Braier (“Honey Boy”), and Jasper Wolf (“Monos”).
There were no surprises among the five theatrical nominees, which are all Best Picture Oscar contenders. Deakins, who finally landed his first Oscar after 14 nominations with “Blade Runner 2049,” is the frontrunner again with the bravura, one-shot achievement of Sam Mendes’ World War I thriller, “1917.” He is a four-time Asc winner, and this marks his 16th nomination.
Three-time Oscar winner Richardson earned his 11th nomination, while Papamichael and Prieto have each been recognized three times by the Asc. For Sher,...
Additionally, competing for the indie Spotlight Award were first-time nominees Jarin Blaschke (“The Lighthouse”), Natasha Braier (“Honey Boy”), and Jasper Wolf (“Monos”).
There were no surprises among the five theatrical nominees, which are all Best Picture Oscar contenders. Deakins, who finally landed his first Oscar after 14 nominations with “Blade Runner 2049,” is the frontrunner again with the bravura, one-shot achievement of Sam Mendes’ World War I thriller, “1917.” He is a four-time Asc winner, and this marks his 16th nomination.
Three-time Oscar winner Richardson earned his 11th nomination, while Papamichael and Prieto have each been recognized three times by the Asc. For Sher,...
- 1/3/2020
- by Bill Desowitz
- Indiewire
The American Society of Cinematographers on Friday revealed its nominees in the Theatrical and Spotlight categories for the 34th Asc Outstanding Achievement Awards. Winners will be announced along with those in previously announced TV and documentary categories at the group’s annual ceremony January 25 at the Ray Dolby Ballroom at Hollywood & Highland.
Today’s Theatrical list includes two Asc veterans – Roger Deakins, with his 16th nomination from the group, for the sprawling, continuous-shot World War I epic 1917, and Robert Richardson, with his 11th nom, for Quentin Tarantino’s Once Upon a Time in Hollywood. Richardson was given the group’s lifetime achievement award last year.
The category also includes Rodrigo Prieto for Martin Scorsese’s age-defying The Irishman and Phedon Papamichael for the racing pic Ford v Ferrari; both lensers scoring their third noms. The list is rounded out by first-time nominee Lawrence Sher for Warner Bros’ Joker.
Lat year,...
Today’s Theatrical list includes two Asc veterans – Roger Deakins, with his 16th nomination from the group, for the sprawling, continuous-shot World War I epic 1917, and Robert Richardson, with his 11th nom, for Quentin Tarantino’s Once Upon a Time in Hollywood. Richardson was given the group’s lifetime achievement award last year.
The category also includes Rodrigo Prieto for Martin Scorsese’s age-defying The Irishman and Phedon Papamichael for the racing pic Ford v Ferrari; both lensers scoring their third noms. The list is rounded out by first-time nominee Lawrence Sher for Warner Bros’ Joker.
Lat year,...
- 1/3/2020
- by Patrick Hipes
- Deadline Film + TV
“1917,” “Once Upon a Time … in Hollywood,” “The Irishman,” “Joker” and “Ford v Ferrari” have been nominated by the American Society of Cinematographers in the feature film category at the Asc Outstanding Achievement Awards, the organization announced on Friday.
Four of the nominated cinematographers are past nominees. Roger Deakins (“1917”) has been nominated 16 times and has won four times, while Robert Richardson (“Once Upon a Time … in Hollywood” has been nominated 11 times and Phedon Papamichael (“Ford v Ferrari”) and Rodrigo Prieto (“The Irishman”) each have three nominations.
Lawrence Sher (“Joker”) is a first-time Asc nominee, as are the three nominated cinematographers in the Spotlight Award category, which honors films that have not received wide theatrical release: Jarin Blaschke for “The Lighthouse,” Natasha Braier for “Honey Boy” and Jasper Wolf for “Monos.”
Also Read: How '1917' Cinematographer Roger Deakins Pulled Off Sam Mendes' One-Shot WWI Film
Films thought to be...
Four of the nominated cinematographers are past nominees. Roger Deakins (“1917”) has been nominated 16 times and has won four times, while Robert Richardson (“Once Upon a Time … in Hollywood” has been nominated 11 times and Phedon Papamichael (“Ford v Ferrari”) and Rodrigo Prieto (“The Irishman”) each have three nominations.
Lawrence Sher (“Joker”) is a first-time Asc nominee, as are the three nominated cinematographers in the Spotlight Award category, which honors films that have not received wide theatrical release: Jarin Blaschke for “The Lighthouse,” Natasha Braier for “Honey Boy” and Jasper Wolf for “Monos.”
Also Read: How '1917' Cinematographer Roger Deakins Pulled Off Sam Mendes' One-Shot WWI Film
Films thought to be...
- 1/3/2020
- by Steve Pond
- The Wrap
The Lighthouse, Honey Boy, Monos in contention for Spotlight Award.
The American Society of Cinematographers (Asc) on Friday (January 3) announced five nominees for best theatrical release and three in contention for the Spotlight Award honouring films that may not get a wide release.
The five cinematographers in the running for the theatrical category of the 34th Asc Outstanding Achievement Awards are: Roger Deakins for 1917 (pictured); Phedon Papamichael for Ford v Ferrari; Rodrigo Prieto for The Irishman; Robert Richardson for Once Upon A Time… In Hollywood; and Lawrence Sher for Joker.
Spotlight Award nominees are Jarin Blaschke for The Lighthouse; Natasha Braier...
The American Society of Cinematographers (Asc) on Friday (January 3) announced five nominees for best theatrical release and three in contention for the Spotlight Award honouring films that may not get a wide release.
The five cinematographers in the running for the theatrical category of the 34th Asc Outstanding Achievement Awards are: Roger Deakins for 1917 (pictured); Phedon Papamichael for Ford v Ferrari; Rodrigo Prieto for The Irishman; Robert Richardson for Once Upon A Time… In Hollywood; and Lawrence Sher for Joker.
Spotlight Award nominees are Jarin Blaschke for The Lighthouse; Natasha Braier...
- 1/3/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Dead & Beautiful
For his seventh narrative feature, Dutch director David Verbeek continues to pursue his unique cultural and co-production infusions with Dead & Beautiful, a Taiwan set vampire tale produced by Erik Glijnis and Leontine Petit and lensed by Jasper Wolf. Verbeek’s cast includes Gijs Blom, Aviis Zhong, Yen Tsao, Anna Marchenko and Philip Juan. Verbeek’s third feature, R U There, was programmed in Un Certain Regard in 2010 and he won the Return of the Tiger Award in Rotterdam for 2011’s Club Zeus, a festival he returned to in 2013 with How to Describe a Cloud (plus short film “Immortelle”).…...
For his seventh narrative feature, Dutch director David Verbeek continues to pursue his unique cultural and co-production infusions with Dead & Beautiful, a Taiwan set vampire tale produced by Erik Glijnis and Leontine Petit and lensed by Jasper Wolf. Verbeek’s cast includes Gijs Blom, Aviis Zhong, Yen Tsao, Anna Marchenko and Philip Juan. Verbeek’s third feature, R U There, was programmed in Un Certain Regard in 2010 and he won the Return of the Tiger Award in Rotterdam for 2011’s Club Zeus, a festival he returned to in 2013 with How to Describe a Cloud (plus short film “Immortelle”).…...
- 1/1/2020
- by Nicholas Bell
- IONCINEMA.com
For our most comprehensive year-end feature, we’re providing a cumulative look at The Film Stage’s favorite films of 2019. We’ve asked our contributors to compile ten-best lists with five honorable mentions–a selection of those personal lists will be shared in the coming days–and, after tallying the votes, a top 50 has been assembled.
It should be noted that, unlike our other year-end features, we placed no requirement on a selection being a U.S theatrical release, so you may see some repeats from last year and a few we’ll certainly discuss more over the next twelve months. So, without further ado, check out our rundown of 2019 below, our ongoing year-end coverage here (including where to stream many of the below picks), and return in the coming weeks as we look towards 2020.
50. Bait (Mark Jenkin)
With all the talk of mermaids, wickies and wanks; you might have...
It should be noted that, unlike our other year-end features, we placed no requirement on a selection being a U.S theatrical release, so you may see some repeats from last year and a few we’ll certainly discuss more over the next twelve months. So, without further ado, check out our rundown of 2019 below, our ongoing year-end coverage here (including where to stream many of the below picks), and return in the coming weeks as we look towards 2020.
50. Bait (Mark Jenkin)
With all the talk of mermaids, wickies and wanks; you might have...
- 12/23/2019
- by The Film Stage
- The Film Stage
The Irishman, 1917, Marriage Story also in contention.
Joanna Hogg’s The Souvenir leads the way with seven nominations for the 40th London Critics’ Circle Film Awards, including best film, actor (Tom Burke), supporting actress (Tilda Swinton) and young performer (Honor Swinton Byrne).
Close behind are Martin Scorsese’s The Irishman and Sam Mendes’ 1917 with six nods, while Noah Baumbach’s Marriage Story, Pedro Almodóvar’s Pain & Glory and Bong Joon Ho’s Parasite have five.
The winners will be announced on Sunday, 30 January at The May Fair Hotel. Sally Potter and Sandy Powell will both receive the Dilys Powell Award for Excellence in Film,...
Joanna Hogg’s The Souvenir leads the way with seven nominations for the 40th London Critics’ Circle Film Awards, including best film, actor (Tom Burke), supporting actress (Tilda Swinton) and young performer (Honor Swinton Byrne).
Close behind are Martin Scorsese’s The Irishman and Sam Mendes’ 1917 with six nods, while Noah Baumbach’s Marriage Story, Pedro Almodóvar’s Pain & Glory and Bong Joon Ho’s Parasite have five.
The winners will be announced on Sunday, 30 January at The May Fair Hotel. Sally Potter and Sandy Powell will both receive the Dilys Powell Award for Excellence in Film,...
- 12/17/2019
- by 1101184¦Orlando Parfitt¦38¦
- ScreenDaily
Nominations for the 40th edition of the London Critics’ Circle Film Awards were announced today, with Joanna Hogg’s The Souvenir out in front on seven nominations including Film, Screenwriter, Actor (Tom Burke), Supporting Actress (Tilda Swinton) and Young Performer (Honor Swinton Byrne).
Martin Scorsese’s The Irishman and Sam Mendes’ 1917 follow close behind with nominations in six categories apiece. On five were Noah Baumbach’s Marriage Story, Pedro Almodóvar’s Pain And Glory and Bong Joon Ho’s Parasite.
Lining up alongside the aforementioned in contention for Film Of The Year are Joker, Knives Out, Midsommar and Portrait Of A Lady On Fire.
Florence Pugh received three nominations, lead actress for Midsommar, supporting for Little Women, and British/Irish Actress for her work across the year.
Winners will be announced on January 30. There will also be three special awards presented: animation specialists Aardman (Shaun The Sheep) will receive the 40th Anniversary Award,...
Martin Scorsese’s The Irishman and Sam Mendes’ 1917 follow close behind with nominations in six categories apiece. On five were Noah Baumbach’s Marriage Story, Pedro Almodóvar’s Pain And Glory and Bong Joon Ho’s Parasite.
Lining up alongside the aforementioned in contention for Film Of The Year are Joker, Knives Out, Midsommar and Portrait Of A Lady On Fire.
Florence Pugh received three nominations, lead actress for Midsommar, supporting for Little Women, and British/Irish Actress for her work across the year.
Winners will be announced on January 30. There will also be three special awards presented: animation specialists Aardman (Shaun The Sheep) will receive the 40th Anniversary Award,...
- 12/17/2019
- by Tom Grater
- Deadline Film + TV
Paris-based Indie Sales has boarded “Dead & Beautiful,” a stylish Taiwan-set vampire film written and directed by David Verbeek, the Dutch filmmaker whose last movie, “Full Contact,” competed at Toronto.
Verbeek’s seventh feature, “Dead & Beautiful” follows a group of young and spoiled teenagers in Taiwan who turn into vampires after a night of partying. Bewildered at first, the group realizes they feel even stronger, more attractive and more invincible than ever before, but it quickly dawns on them that they can no longer trust the friendships they had.
“Dead & Beautiful” was lensed by Jasper Wolf, the cinematographer of the Sundance prize-winning “Monos.” Indie Sales will unveil a promo for the film at the Afm.
Verbeek earned critical acclaim with his third film, “R U There,” which was selected for Un Certain Regard at Cannes in 2010 and earned five Golden Calf nominations at the Netherlands Film Festival. His 2015 film “Full Contact...
Verbeek’s seventh feature, “Dead & Beautiful” follows a group of young and spoiled teenagers in Taiwan who turn into vampires after a night of partying. Bewildered at first, the group realizes they feel even stronger, more attractive and more invincible than ever before, but it quickly dawns on them that they can no longer trust the friendships they had.
“Dead & Beautiful” was lensed by Jasper Wolf, the cinematographer of the Sundance prize-winning “Monos.” Indie Sales will unveil a promo for the film at the Afm.
Verbeek earned critical acclaim with his third film, “R U There,” which was selected for Un Certain Regard at Cannes in 2010 and earned five Golden Calf nominations at the Netherlands Film Festival. His 2015 film “Full Contact...
- 10/30/2019
- by Elsa Keslassy
- Variety Film + TV
Cinema can find so many ways in. Alejandro Landes’ astonishing “Monos,” recently named Colombia’s official Oscar submission, seeps in through the skin like a sweet, druggy sickness — the kind that heightens and sharpens your dreams even as it scrambles them, making the brights brighter and the darks darker, while keeping you feverishly uncertain about whether the next cut will bring rapture or nightmare. , “Monos” presents an ugly reality in terms so profoundly paradoxical it becomes surreality: an experience at once jagged and lyrical, brutal and beautiful, angry and abstract, scattered and wholly singular.
These Lost Boys, some of them girls, whose raggedy clothes are accessorized with battered machine guns, slung across bony shoulders or dangling carelessly off thin arms, go by noms de guerre like Rambo (Sofia Buenaventura), Boom-boom (Sneider Castro), Lady (Karen Quintero), Dog (Paul Kubides), Wolf (Julian Giraldo) and Bigfoot (Moises Arias). On a misty mountaintop, these...
These Lost Boys, some of them girls, whose raggedy clothes are accessorized with battered machine guns, slung across bony shoulders or dangling carelessly off thin arms, go by noms de guerre like Rambo (Sofia Buenaventura), Boom-boom (Sneider Castro), Lady (Karen Quintero), Dog (Paul Kubides), Wolf (Julian Giraldo) and Bigfoot (Moises Arias). On a misty mountaintop, these...
- 9/28/2019
- by Jessica Kiang
- Variety Film + TV
Atop a lonely Latin American mountain, breaching the cloud’s barrier of visibility, eight teenage commandos do their part in an operation neither we nor they fully understand. Their ties to an entity called “The Organization” are, at the start of Monos, unbreakable and unquestioning; living in a feral state, they eagerly await orders from a horse-riding and harsh superior, who’s stripped them of their domestic identities and molded them into obedient machines, cultic militants. But by the end of Columbian filmmaker Alejandro Landes’ gorgeous third feature, the fabric of both their compliance and comradery will be unraveled in a 140-minute dissertation of unnerving, yet valid humanity.
The task at hand is simple, the “Messenger” (Wilson Salazar) informs his platoon: protect the cow and protect the girl. The cow, named Shakira, provides nutrient-rich milk for the near-savage warriors, and the girl (Julianne Nicholson), only referred to as “doctora,” is an American hostage.
The task at hand is simple, the “Messenger” (Wilson Salazar) informs his platoon: protect the cow and protect the girl. The cow, named Shakira, provides nutrient-rich milk for the near-savage warriors, and the girl (Julianne Nicholson), only referred to as “doctora,” is an American hostage.
- 9/27/2019
- by Luke Parker
- We Got This Covered
They have names like Rambo, Bigfoot, Wolf, Dog, Lady, Smurf, Swede, Boom Boom. They live, for now, up in the hills of Colombia, high enough that clouds roll in and blanket the fields during pick-up soccer games. (Just to make things interesting, they all play blindfolded.) They have kidnapped an American engineer (Julianne Nicholson) who they call “Doctora”; sometimes, the young women looking after her braid her hair. They answer to “The Messenger” (Wilson Salazar), a small, muscular man who represents “The Organization.” They shoot guns, stage guerilla attacks, perform...
- 9/16/2019
- by David Fear
- Rollingstone.com
On the chilly, fog-soaked mountains of an unnamed region in Latin America, a group of child soldiers keeps watch over two captives: a solemn-faced engineer (Julianne Nicholson) and a borrowed cow named Shakira. There is some loose order imposed on the garbage bag-wearing guerilla soldiers by a short but fearsome commander from The Organization, an unknown paramilitary group with vague ideals and no stated purpose other than to fight their enemies.
The kids go by nicknames, like Bigfoot (Moises Arias), Lady (Karen Quintero), Wolf (Julian Giraldo), Rambo (Sofia Buenaventura) and Swede (Laura Castrillón). Their human captive is known only as Doctor for most of the movie. We don’t know much else as Alejandro Landes plunges us into the dark world of “Monos.”
Written by Landes and Alexis Dos Santos, “Monos” is like an even bleaker re-imagining of “The Lord of the Flies.” Landes sets the story in an unnamed...
The kids go by nicknames, like Bigfoot (Moises Arias), Lady (Karen Quintero), Wolf (Julian Giraldo), Rambo (Sofia Buenaventura) and Swede (Laura Castrillón). Their human captive is known only as Doctor for most of the movie. We don’t know much else as Alejandro Landes plunges us into the dark world of “Monos.”
Written by Landes and Alexis Dos Santos, “Monos” is like an even bleaker re-imagining of “The Lord of the Flies.” Landes sets the story in an unnamed...
- 9/13/2019
- by Monica Castillo
- The Wrap
It opens like a dreamy "kids surviving in the wild" movie but pretty quickly, Alejandro Landes' Monos takes a turn into unexpected territory.
Winner of a World Cinema Special Jury Prize at Sundance, it's immediately clear to see why Landes' film captured the eye of the jury and critics alike. In the less than two-minute-long trailer, the story moves from awe-inspiring wonder to terror, all married with gorgeous cinematography from Jasper Wolf and what I can only assume are bits of Mica Levi's score.
The film is set on a remote mountain in Latin America and follows a young group of soldiers and rebels who are keeping watch over an American hostage until an ambush brings chaos to their orderly lives and drives them deep into the forest.
The wordless trailer...
Winner of a World Cinema Special Jury Prize at Sundance, it's immediately clear to see why Landes' film captured the eye of the jury and critics alike. In the less than two-minute-long trailer, the story moves from awe-inspiring wonder to terror, all married with gorgeous cinematography from Jasper Wolf and what I can only assume are bits of Mica Levi's score.
The film is set on a remote mountain in Latin America and follows a young group of soldiers and rebels who are keeping watch over an American hostage until an ambush brings chaos to their orderly lives and drives them deep into the forest.
The wordless trailer...
- 7/16/2019
- QuietEarth.us
Now in its 48th year, New Directors/New Films is a stellar showcase for new voices in cinema, both domestic and international, and this year’s lineup is no exception. The festival’s opening, centerpiece, and closing slots all go to Sundance hits with Clemency, Monos, and Share, respectively, while the rest is filled out with some of our favorite titles from the international circuit the past year, including The Load, All Good, Genesis, Joy, The Plagiarists, Manta Ray, A Land Imagined, and more.
“Spanning the globe and a wide spectrum of styles and concerns, the bold and brilliant films in this year’s New Directors lineup are collective proof that cinema is still as supple a medium as ever,” said Film Society Director of Programming Dennis Lim. “Demanding our attention and exemplifying the vitality of contemporary cinema, this year’s class of emerging directors is one of the most courageous in years,...
“Spanning the globe and a wide spectrum of styles and concerns, the bold and brilliant films in this year’s New Directors lineup are collective proof that cinema is still as supple a medium as ever,” said Film Society Director of Programming Dennis Lim. “Demanding our attention and exemplifying the vitality of contemporary cinema, this year’s class of emerging directors is one of the most courageous in years,...
- 2/21/2019
- by Jordan Raup
- The Film Stage
The Museum of Modern Art and the Film Society of Lincoln Center has revealed the complete lineup for the 48th annual New Directors/New Films (Nd/Nf), running March 27 – April 7 in New York City. Throughout its rich, nearly half-century history, the festival has celebrated filmmakers who represent the present and anticipate the future of cinema, daring artists whose work pushes the envelope in unexpected ways.
This year’s lineup boasts 35 features and shorts from 29 countries across four continents, with 10 North American Premieres and two World Premieres, 15 films directed or co-directed by women, and 11 works by first-time feature filmmakers.
The Opening, Closing, and Centerpiece selections are the New York premieres of three Sundance award winners: opening the festival is Chinonye Chukwu’s “Clemency,” which won the U.S. Dramatic Grand Jury Prize and features a masterful performance from Alfre Woodard as a prison warden struggling with her work; Centerpiece is Alejandro Landes’ “Monos,...
This year’s lineup boasts 35 features and shorts from 29 countries across four continents, with 10 North American Premieres and two World Premieres, 15 films directed or co-directed by women, and 11 works by first-time feature filmmakers.
The Opening, Closing, and Centerpiece selections are the New York premieres of three Sundance award winners: opening the festival is Chinonye Chukwu’s “Clemency,” which won the U.S. Dramatic Grand Jury Prize and features a masterful performance from Alfre Woodard as a prison warden struggling with her work; Centerpiece is Alejandro Landes’ “Monos,...
- 2/21/2019
- by Kate Erbland
- Indiewire
“Monos” takes place in the dense jungles and foggy mountaintops of northern Colombia, but it may as well be another planet. Director Alejandro Landes’ thrilling survivalist saga tracks a dysfunctional group of young militants as they traipse through perilous terrain, engaging in savage behavior while toying with their mortified American hostage (Julianne Nicholson), but they never reveal their motivations. Equal parts “Lord of the Flies” and “Aguirre, the Wrath of God,” Landes’ third feature distills guerrilla warfare into sheer anarchy.
By stripping away the sociopolitical context, “Monos” provides a window into power-hungry mayhem on the fringes of society that could happen anytime, anywhere — but depicts its hectic showdowns with a you-are-there intensity that could only take place in the present. Aided by “Under the Skin” composer Micah Levi’s thunderous score, Landes delivers a suspenseful encapsulation of alienated youth enmeshed in pointless battles that can only lead to further destruction.
By stripping away the sociopolitical context, “Monos” provides a window into power-hungry mayhem on the fringes of society that could happen anytime, anywhere — but depicts its hectic showdowns with a you-are-there intensity that could only take place in the present. Aided by “Under the Skin” composer Micah Levi’s thunderous score, Landes delivers a suspenseful encapsulation of alienated youth enmeshed in pointless battles that can only lead to further destruction.
- 1/27/2019
- by Eric Kohn
- Indiewire
There’s a preternatural feel to the opening sequences of Monos, the brutal, unflinching third film from Colombian-Ecuadorian filmmaker Alejandro Landes. As if we’re floating through clouds at the edge of the world, we witness a group of children, blindfolded, playing soccer, the fear instilled that a misaimed kick could send the ball hurling into the unknown oblivion below. With information patiently, sparingly doled out–even up until the final moments–we learn this tight-knit clan is, in fact, a rebel group in the mountains of Latin America, sporadically visited by a commander but mostly given orders through a radio. Left to their own devices, the two most crucial responsibilities they are given are to care for a cow named Shakira and oversee a kidnapped American engineer, only referred to as Doctora (Julianne Nicholson).
Going by nicknames such as Rambo, Smurf, Bigfoot, Wolf, and Boom-Boom, Landes is less interested...
Going by nicknames such as Rambo, Smurf, Bigfoot, Wolf, and Boom-Boom, Landes is less interested...
- 1/27/2019
- by Jordan Raup
- The Film Stage
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