For his third feature (in a row), László Nemes is going back into the history books for his next project set to month into production this June. Set in 1957’s Budapest, Orphan follows a young Jewish boy whose mother has raised him in the hope that his father will return from the camps. These hopes are shattered when a brutish stranger appears on the doorstep to take his family back. Variety reports that the project sees Nemes reteam with cinematographer Mátyás Erdély and his co-writer partner in Clara Royer. Producers onboard include Pioneer Pictures’ Ildiko Kemeny and Ferenc Szale, Good Chaos’ Mike Goodridge and Nemes himself.…...
- 4/24/2024
- by Eric Lavallée
- IONCINEMA.com
UK director Molly Manning Walker is among the six filmmakers who have been selected for Cannes Film Festival’s annual La Résidence programme for first- or second-time directors, running March 15-July 31.
Walker won the Un Certain Regard award last year for her debut feature How To Have Sex, which also picked up the European film award for discovery and four Bafta nominations.
She is joined by Oscar-nominated director Daria Kashcheeva from the Czech Republic. Her 2020 film Daughter was nominated in the best animated short film category while her next project Electra won best short film at Toronto last year.
The...
Walker won the Un Certain Regard award last year for her debut feature How To Have Sex, which also picked up the European film award for discovery and four Bafta nominations.
She is joined by Oscar-nominated director Daria Kashcheeva from the Czech Republic. Her 2020 film Daughter was nominated in the best animated short film category while her next project Electra won best short film at Toronto last year.
The...
- 3/21/2024
- ScreenDaily
“Zone of Interest” director Jonathan Glazer’s Oscars speech was a mistake, “Son of Saul” director László Nemes said. Though he praised Glazer’s film as “an important movie,” Nemes told The Guardian in a statement that Glazer “should have stayed silent.”
In Glazer’s speech, he said that he and producer James Wilson “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.”
Nemes explained in full, “‘The Zone of Interest’ is an important movie. It is not made in a usual way. It questions the grammar of cinema. Its director should have stayed silent instead of revealing he has no understanding of history and the forces undoing civilization, before or after the Holocaust.”
“Had he embraced the responsibility that...
In Glazer’s speech, he said that he and producer James Wilson “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.”
Nemes explained in full, “‘The Zone of Interest’ is an important movie. It is not made in a usual way. It questions the grammar of cinema. Its director should have stayed silent instead of revealing he has no understanding of history and the forces undoing civilization, before or after the Holocaust.”
“Had he embraced the responsibility that...
- 3/16/2024
- by Stephanie Kaloi
- The Wrap
László Nemes, the director of acclaimed Holocaust film Son of Saul, has spoken out against the speech made by the The Zone of Interest director Jonathan Glazer, when he accepted his Oscar last weekend.
Glazer has ignited support but also a huge backlash with his speech, in which he said he and his producer James Wilson “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.”
Now Nemes, who won the foreign language award in 2015 for his film about the Holocaust, Son of Saul, writes in The Guardian newspaper:
“The Zone of Interest is an important movie… Its director should have stayed silent instead of revealing he has no understanding of history and the forces undoing civilisation, before or after the Holocaust.
Glazer has ignited support but also a huge backlash with his speech, in which he said he and his producer James Wilson “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.”
Now Nemes, who won the foreign language award in 2015 for his film about the Holocaust, Son of Saul, writes in The Guardian newspaper:
“The Zone of Interest is an important movie… Its director should have stayed silent instead of revealing he has no understanding of history and the forces undoing civilisation, before or after the Holocaust.
- 3/16/2024
- by Caroline Frost
- Deadline Film + TV
In a statement shared with the Guardian, László Nemes says The Zone of Interest director’s speech ‘resorted to talking points disseminated by propaganda meant to eradicate all Jewish presence’
László Nemes, the director of acclaimed film Son of Saul, has criticised The Zone of Interest director Jonathan Glazer’s Oscars acceptance speech.
Speaking at the ceremony on Sunday, Glazer said he and his producer, James Wilson, “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.”...
László Nemes, the director of acclaimed film Son of Saul, has criticised The Zone of Interest director Jonathan Glazer’s Oscars acceptance speech.
Speaking at the ceremony on Sunday, Glazer said he and his producer, James Wilson, “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.”...
- 3/15/2024
- by Catherine Shoard
- The Guardian - Film News
The moviemaking business is alive and well, and somehow giving several talents the greenlight in a 24-hour span. Ranked in order of interest, from best to good-enough:
The Hollywood Reporter reports (from Hollywood) that Lily Gladstone and Martin Scorsese will reunite via Charlie Kaufman: the latter has written The Memory Police, an adaptation of Yoko Ogawa’s acclaimed sci-fi novel which the Best Actress nominee will lead and Scorsese is executive-producing. Reed Morano (I Think We’re Alone Now) is taking directing duties on the film, somehow both Kafkaesque and Orwellian, as the official synopsis suggests:
On an unnamed island, objects are disappearing: first hats, then ribbons, birds, roses. . . . Most of the inhabitants are oblivious to these changes, while those few able to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. When a young writer...
The Hollywood Reporter reports (from Hollywood) that Lily Gladstone and Martin Scorsese will reunite via Charlie Kaufman: the latter has written The Memory Police, an adaptation of Yoko Ogawa’s acclaimed sci-fi novel which the Best Actress nominee will lead and Scorsese is executive-producing. Reed Morano (I Think We’re Alone Now) is taking directing duties on the film, somehow both Kafkaesque and Orwellian, as the official synopsis suggests:
On an unnamed island, objects are disappearing: first hats, then ribbons, birds, roses. . . . Most of the inhabitants are oblivious to these changes, while those few able to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. When a young writer...
- 1/25/2024
- by Leonard Pearce
- The Film Stage
The British Film Institute has revealed the list of TV, film, and animation companies that have won funding from its latest £3.3M ($4.2M) Global Screen Fund payout.
Thirty cash awards have been allocated this round, including seven new international co-productions and what the BFI has described as 23 UK screen content businesses. Financed through the Department for Culture, Media and Sport (Dcms), the latest batch of awards sees over £1.3 million allocated through the fund’s International Co-production strand and over £2 million allocated through the fund’s International Business Development strand.
The funding, awarded in the form of non-recoupable grants ranging between £50,000 and £150,000, is paid out over three years. This year, the International Co-production strand has, for the first time, supported collaborations with Hungary, Norway, and Spain. The funding will also support partnerships with Belgium, Finland, France, Germany, Greece, Lithuania, New Zealand, Poland and Sweden. Check out the full list of awardees below.
Thirty cash awards have been allocated this round, including seven new international co-productions and what the BFI has described as 23 UK screen content businesses. Financed through the Department for Culture, Media and Sport (Dcms), the latest batch of awards sees over £1.3 million allocated through the fund’s International Co-production strand and over £2 million allocated through the fund’s International Business Development strand.
The funding, awarded in the form of non-recoupable grants ranging between £50,000 and £150,000, is paid out over three years. This year, the International Co-production strand has, for the first time, supported collaborations with Hungary, Norway, and Spain. The funding will also support partnerships with Belgium, Finland, France, Germany, Greece, Lithuania, New Zealand, Poland and Sweden. Check out the full list of awardees below.
- 1/17/2024
- by Zac Ntim
- Deadline Film + TV
“The most beautiful gestures from my film came to mind at the kitchen in the Résidence when I was pressing oranges in the juice machine,” said Nadiv Lapid.
Six first or second-time international filmmakers are taking part in the Cannes Film Festival’s annual Résidence programme that kicked off on October 1 in Paris and will run through February 2024.
Belgian director Meltse Van Coillie, Czech-Vietnamese filmmaker Diana Cam Van Nguyen, Chinese director Zhao Hao, Haitian director Gessica Généus, Croatian filmmaker Andréa Slaviček, and Moroccan director Asmae El Moudi will all work on their upcoming features with advice from industry experts in writing and producing their films.
Six first or second-time international filmmakers are taking part in the Cannes Film Festival’s annual Résidence programme that kicked off on October 1 in Paris and will run through February 2024.
Belgian director Meltse Van Coillie, Czech-Vietnamese filmmaker Diana Cam Van Nguyen, Chinese director Zhao Hao, Haitian director Gessica Généus, Croatian filmmaker Andréa Slaviček, and Moroccan director Asmae El Moudi will all work on their upcoming features with advice from industry experts in writing and producing their films.
- 10/6/2023
- by Rebecca Leffler
- ScreenDaily
Olivier Dahan: “I didn’t want to make a film about Simone Veil as we know her in France.”
Simone: Woman Of The Century director, writer, editor Olivier Dahan (La Vie En Rose with Marion Cotillard as Edith Piaf and Grace de Monaco with Nicole Kidman as Grace Kelly) is no stranger to depicting influential women. His all-embracing portrait of Simone Veil stars Elsa Zylberstein as Veil from 1968 till 2006, and Rebecca Marder (Arnaud Desplechin’s Tromperie and François Ozon’s Mon Crime) from 1942 through 1967.
Olivier Dahan with Anne-Katrin Titze on young people not knowing Simone Veil, Steven Spielberg’s Schindler’s List, Roman Polanski’s The Pianist, and László Nemes’s Son Of Saul: “I was really trying to connect with those young people and this woman, of course.”
In Bernard-Henri Lévy’s homage to Simone Veil he writes: “The world, French philosopher Gaston Bachelard said a century ago,...
Simone: Woman Of The Century director, writer, editor Olivier Dahan (La Vie En Rose with Marion Cotillard as Edith Piaf and Grace de Monaco with Nicole Kidman as Grace Kelly) is no stranger to depicting influential women. His all-embracing portrait of Simone Veil stars Elsa Zylberstein as Veil from 1968 till 2006, and Rebecca Marder (Arnaud Desplechin’s Tromperie and François Ozon’s Mon Crime) from 1942 through 1967.
Olivier Dahan with Anne-Katrin Titze on young people not knowing Simone Veil, Steven Spielberg’s Schindler’s List, Roman Polanski’s The Pianist, and László Nemes’s Son Of Saul: “I was really trying to connect with those young people and this woman, of course.”
In Bernard-Henri Lévy’s homage to Simone Veil he writes: “The world, French philosopher Gaston Bachelard said a century ago,...
- 9/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
In a major shift one of the nation’s premier arthouses, Karen Cooper will be exiting as director on June 30 after 50 years running the Film Forum in New York City. Deputy Director Sonya Chung will assume the role.
Cooper has led the nonprofit cinema since its first iteration in 1972 as a 50-seat loft space on the Upper West Side open only weekends, to a multi-million dollar operation with four screens and 500 seats in lower Manhattan. She’ll remain an advisor to Chung with a focus on programming premieres and fundraising
“To say this is a transitional moment would be a vast understatement – for virtually all of its history, Film Forum has been energetically and most ably guided by Karen, not least during the very challenging pandemic period from which we are emerging. My board colleagues and I are extremely grateful for her tenure, and excited that in Sonya we have...
Cooper has led the nonprofit cinema since its first iteration in 1972 as a 50-seat loft space on the Upper West Side open only weekends, to a multi-million dollar operation with four screens and 500 seats in lower Manhattan. She’ll remain an advisor to Chung with a focus on programming premieres and fundraising
“To say this is a transitional moment would be a vast understatement – for virtually all of its history, Film Forum has been energetically and most ably guided by Karen, not least during the very challenging pandemic period from which we are emerging. My board colleagues and I are extremely grateful for her tenure, and excited that in Sonya we have...
- 1/9/2023
- by Jill Goldsmith
- Deadline Film + TV
The festival runs July 21-31.
Alexandru Belc’s Metronom has picked up the award for best international film at the 39th edition of the Jerusalem Film Festival (Jff) this week.
The Romanian film was selected from 11 international titles, which included Park Chan-wook’s Decision To Leave and Mia Hansen-Løve’s One Fine Morning. It centres around a teenage couple spending their last few days together in 1972. Belc also won the best director award when the film played in Cannes’ Un Certain Regard selection earlier this year.
Berlinale managing director Mariette Rissenbeek, Hungarian filmmaker László Nemes and Icelandic director Rúnar Rúnarsson comprised the jury.
Alexandru Belc’s Metronom has picked up the award for best international film at the 39th edition of the Jerusalem Film Festival (Jff) this week.
The Romanian film was selected from 11 international titles, which included Park Chan-wook’s Decision To Leave and Mia Hansen-Løve’s One Fine Morning. It centres around a teenage couple spending their last few days together in 1972. Belc also won the best director award when the film played in Cannes’ Un Certain Regard selection earlier this year.
Berlinale managing director Mariette Rissenbeek, Hungarian filmmaker László Nemes and Icelandic director Rúnar Rúnarsson comprised the jury.
- 7/29/2022
- by Ellie Calnan
- ScreenDaily
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe official poster for the the 54th Directors' Fortnight is by multidisciplinary artist Cecilia Paredes. In a statement, the festival points out that Paredes' photo-performance is "both visible and invisible, the artist blends into the image she creates, much like filmmakers do in their films." Following the release of Joel Coen's The Tragedy of Macbeth, Ethan Coen is setting out to make his own solo directorial debut with a still-untitled "lesbian road trip project that Coen and [his wife, Tricia Cooke] initially wrote in the mid-2000s." Gus Van Sant is set to direct the second season of Ryan Murphy's anthology series Feud, which will be based on Laurence Leamer's book Capote’s Women: A True Story of Love, Betrayal, and a Swan Song for an Era. Playing one such woman will be Naomi Watts,...
- 4/6/2022
- MUBI
The Jerusalem Sam Spiegel Film School is set to launch a Series Lab with the support of Netflix and Vis Social Impact, ViacomCBS International Studios’ new cause-driven production division. Hagai Levi, the creator of “In Treatment” and “The Affair,” has joined the new program as artistic advisor.
For the last decade, the film school has been hosting a popular film lab which was founded by Renen Schorr and has become a major curator of world cinema gems. Alumni include Hungarian helmer László Nemes, director of Oscar-winning “Son of Saul;” Croatian director Antoneta Alamat Kusijanović whose feature debut “Murina” won the Camera d’Or at Cannes; and Nadav Lapid who participated with “The Kindergarten Teacher.”
The program is now branching out to serialized television to help promising creators, writers and producers based in Israel connect with leading industry professionals. Mentors includes Daphna Levin and Noah Stollman (“Our Boys”).
Jsfl Series Lab...
For the last decade, the film school has been hosting a popular film lab which was founded by Renen Schorr and has become a major curator of world cinema gems. Alumni include Hungarian helmer László Nemes, director of Oscar-winning “Son of Saul;” Croatian director Antoneta Alamat Kusijanović whose feature debut “Murina” won the Camera d’Or at Cannes; and Nadav Lapid who participated with “The Kindergarten Teacher.”
The program is now branching out to serialized television to help promising creators, writers and producers based in Israel connect with leading industry professionals. Mentors includes Daphna Levin and Noah Stollman (“Our Boys”).
Jsfl Series Lab...
- 2/7/2022
- by Elsa Keslassy
- Variety Film + TV
When producer Robert Lantos began developing the big-budget historical drama series “Rise of the Raven,” adapting Hungarian author Bán Mór’s series of bestselling novels presented obvious challenges. “It’s an 11-volume novel, each volume being 500-600 pages long,” says Lantos. It took several writers and the better part of a decade to find a way forward, something the producer describes as “finding a creative solution to a jigsaw puzzle.”
With a budget that Lantos describes as “competitive with English-language productions of that scope and that size,” financing the series was the second challenge, with the producer determined to secure the majority of the show’s financing from the host country. “It’s ambitious. It’s certainly by far the biggest thing done in that part of the world, not just in Hungary,” he says. The last puzzle piece finally fell into place when Hungary’s National Film Institute (Nfi...
With a budget that Lantos describes as “competitive with English-language productions of that scope and that size,” financing the series was the second challenge, with the producer determined to secure the majority of the show’s financing from the host country. “It’s ambitious. It’s certainly by far the biggest thing done in that part of the world, not just in Hungary,” he says. The last puzzle piece finally fell into place when Hungary’s National Film Institute (Nfi...
- 9/7/2021
- by Christopher Vourlias
- Variety Film + TV
Skills Review
The British Film Institute (BFI), in collaboration with skills body ScreenSkills and other industry bodies, has launched a strategic review designed to develop long-term solutions to tackle the current and emerging skills needs of the screen industries. The review will address the issues of improving inclusion of people from underrepresented groups, and the imbalance between London and the southeast of England, which are thriving, and other parts of the U.K.
The focus of the review is film and high-end television production, and its scope is across the entire talent development pipeline, from secondary education, further and higher education through to vocational training, apprenticeships and continuing professional development.
The U.K. Skills Review will be trialed through pilots in 2022-23.
BFI chief executive Ben Roberts said, “Future proofing the industry’s skills is one of our key strategic priorities. This review will help us to stay ahead of...
The British Film Institute (BFI), in collaboration with skills body ScreenSkills and other industry bodies, has launched a strategic review designed to develop long-term solutions to tackle the current and emerging skills needs of the screen industries. The review will address the issues of improving inclusion of people from underrepresented groups, and the imbalance between London and the southeast of England, which are thriving, and other parts of the U.K.
The focus of the review is film and high-end television production, and its scope is across the entire talent development pipeline, from secondary education, further and higher education through to vocational training, apprenticeships and continuing professional development.
The U.K. Skills Review will be trialed through pilots in 2022-23.
BFI chief executive Ben Roberts said, “Future proofing the industry’s skills is one of our key strategic priorities. This review will help us to stay ahead of...
- 6/28/2021
- by Jamie Lang
- Variety Film + TV
Naomi Watts’ update on the cult horror film “Goodnight Mommy” just secured two crucial roles in Cameron and Nicholas Crovetti.
The twin boys will play Watts’ sons in the Amazon Studios project, which just kicked off production in New Jersey. Matt Sobel is directing the new take on the film, whose predecessor was selected as Austria’s entry for best international film at the 2015 Oscars.
The story follows two brothers who arrive at their mother’s country home to discover her face covered in bandages, what she says is the result of a recent cosmetic surgery. As her behavior grows increasingly erratic, a horrifying question takes root in the boys’ minds: what if the woman beneath the gauze isn’t their mother at all?
Sobel is directing from a script by Kyle Warren. Joshua Astrachan, David Kaplan, Nicolas Brigaud-Robert and Valery Guibal are producing. Watts, Sobel, Warren and the directors of the original film,...
The twin boys will play Watts’ sons in the Amazon Studios project, which just kicked off production in New Jersey. Matt Sobel is directing the new take on the film, whose predecessor was selected as Austria’s entry for best international film at the 2015 Oscars.
The story follows two brothers who arrive at their mother’s country home to discover her face covered in bandages, what she says is the result of a recent cosmetic surgery. As her behavior grows increasingly erratic, a horrifying question takes root in the boys’ minds: what if the woman beneath the gauze isn’t their mother at all?
Sobel is directing from a script by Kyle Warren. Joshua Astrachan, David Kaplan, Nicolas Brigaud-Robert and Valery Guibal are producing. Watts, Sobel, Warren and the directors of the original film,...
- 6/17/2021
- by Matt Donnelly
- Variety Film + TV
Naomi Watts is set to star in and executive produce the English-language remake of the hit Austrian psychological thriller “Goodnight Mommy,” set up at Amazon Studios.
The streamer will mount the remake with indie prestige label Animal Kingdom and production company Playtime. Released in 2014, the original film became a cult classic and was selected as the Austrian entry for best foreign language film at the Academy Awards.
Matt Sobel (“Take Me To The River”) is directing from a script by Kyle Warren. David Kaplan, Joshua Astrachan, Valery Guibal and Nicolas Brigaud-Robert are producing. In addition to Watts, the original film’s directors Severin Fiala and Veronika Franz will serve as executive producers.
Playtime acquired the remake rights and developed the new film with Playtime. Amazon is financing and releasing worldwide.
“Goodnight Mommy” follows twin brothers who, when sent to stay with their mother, are surprised to find her swathed in bandages from a recent procedure.
The streamer will mount the remake with indie prestige label Animal Kingdom and production company Playtime. Released in 2014, the original film became a cult classic and was selected as the Austrian entry for best foreign language film at the Academy Awards.
Matt Sobel (“Take Me To The River”) is directing from a script by Kyle Warren. David Kaplan, Joshua Astrachan, Valery Guibal and Nicolas Brigaud-Robert are producing. In addition to Watts, the original film’s directors Severin Fiala and Veronika Franz will serve as executive producers.
Playtime acquired the remake rights and developed the new film with Playtime. Amazon is financing and releasing worldwide.
“Goodnight Mommy” follows twin brothers who, when sent to stay with their mother, are surprised to find her swathed in bandages from a recent procedure.
- 4/6/2021
- by Matt Donnelly
- Variety Film + TV
For the first time ever, two Hungarian films are competing for the Berlinale’s Golden Bear: “Forest – I See You Everywhere,” a standalone sequel to the 2003 Berlinale hit “Forest,” from veteran auteur Bence Fliegauf, and “Natural Light” from feature debutant Dénes Nagy. Csaba Káel, chairman of the National Film Institute of Hungary (Nfi), says, “I believe it demonstrates the vitality and strength of the Hungarian industry flourishing despite the unprecedented circumstances caused by the pandemic worldwide.”
The two films represent opposite poles of current Hungarian filmmaking. Brimming with discourse, the independently funded “Forest” tells multiple complex, engaging stories of contemporary life in Hungary. And as he did in his Berlinale-winner “Just the Wind” (2012), Fliegauf creates deep empathy for his characters who deliver standout performances.
On the other hand, “Natural Light,” with its minimal dialogue, harks back to an older tradition in Hungarian cinema where stunning cinematography leads the other formal elements.
The two films represent opposite poles of current Hungarian filmmaking. Brimming with discourse, the independently funded “Forest” tells multiple complex, engaging stories of contemporary life in Hungary. And as he did in his Berlinale-winner “Just the Wind” (2012), Fliegauf creates deep empathy for his characters who deliver standout performances.
On the other hand, “Natural Light,” with its minimal dialogue, harks back to an older tradition in Hungarian cinema where stunning cinematography leads the other formal elements.
- 3/3/2021
- by Alissa Simon
- Variety Film + TV
For his first narrative feature Natural Light, Hungarian filmmaker Dénes Nagy (who has worked in documentary since as far back as 2008) follows in the footsteps of a fellow countryman. In 2015, László Nemes debuted Son of Saul at the Cannes film festival. A deeply serious film, Saul sought to plunge viewers into the horrors of Auschwitz. Nagy’s film takes place a little earlier, and a good bit further to the East, following a squadron of Hungarian soldiers on the Eastern front. The men are there to serve on the side of the Nazis-––although hunger, mud, and sanity seem to be the more pressing concerns.
The nod to Nemes is less to do with having been born in the same part of the world, of course, as it is to do with subject and style––although the two are not necessarily unrelated. It’s also to do with a relatively...
The nod to Nemes is less to do with having been born in the same part of the world, of course, as it is to do with subject and style––although the two are not necessarily unrelated. It’s also to do with a relatively...
- 3/2/2021
- by Rory O'Connor
- The Film Stage
Dea Kulumbegashvili’s debut feature Beginning (Main Slate selection of the New York Film Festival), co-written with Rati Oneli, executive produced by Carlos Reygadas and Gaetan Rousseau, stars Ia Sukhitashvili with Oneli and Kakha Kintsurashvili. Matthieu Taponier, the editor of László Nemes’s Oscar-winning film Son Of Saul, starring Géza Röhrig, was also the editor and co-writer with Nemes and Clara Royer on Sunset (Napszállta), featuring Juli Jakab and Vlad Ivanov. Taponier edited Beginning, shot by Arseni Khachaturan with music by Nicolas Jaar.
Beginning begins in a small Jehovah's Witness prayer house in rural Georgia. The woman Yana (Ia Sukhitashvili) whose story this is, greets the congregation one by one as they enter. The carpet is red, the people are happy to attend. Yana’s husband David (Rati Oneli) gives the sermon about Abraham and Isaac, and asks if Abraham was really intent on killing Isaac, his...
Beginning begins in a small Jehovah's Witness prayer house in rural Georgia. The woman Yana (Ia Sukhitashvili) whose story this is, greets the congregation one by one as they enter. The carpet is red, the people are happy to attend. Yana’s husband David (Rati Oneli) gives the sermon about Abraham and Isaac, and asks if Abraham was really intent on killing Isaac, his...
- 10/12/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Ia Sukhitashvili stars in Dea Kulumbegashvili's Beginning
Dea Kulumbegashvili’s debut feature Beginning, co-written with Rati Oneli, executive produced by Carlos Reygadas and Gaetan Rousseau, stars Ia Sukhitashvili with Oneli and Kakha Kintsurashvili. Matthieu Taponier, the editor of László Nemes’s Oscar-winning film Son Of Saul, starring Géza Röhrig was also the editor and co-writer with Nemes and Clara Royer on Sunset (Napszállta), featuring Juli Jakab and Vlad Ivanov. Taponier edited Beginning, shot by Arseni Khachaturan with music by Nicolas Jaar.
Koné Bakary in Night Of The Kings
During the Rethinking World Cinema panel discussion with Chaitanya Tamhane (The Disciple), Philippe Lacôte (Night of the Kings), Louis Henderson and Olivier Marboeuf (Ouvertures) at the New York Film Festival, I sent in the following comment and question for Dea Kulumbegashvili: You worked with Matthieu Taponier, the editor of László Nemes’s Son Of Saul and Sunset. Can you talk about your collaboration with him?...
Dea Kulumbegashvili’s debut feature Beginning, co-written with Rati Oneli, executive produced by Carlos Reygadas and Gaetan Rousseau, stars Ia Sukhitashvili with Oneli and Kakha Kintsurashvili. Matthieu Taponier, the editor of László Nemes’s Oscar-winning film Son Of Saul, starring Géza Röhrig was also the editor and co-writer with Nemes and Clara Royer on Sunset (Napszállta), featuring Juli Jakab and Vlad Ivanov. Taponier edited Beginning, shot by Arseni Khachaturan with music by Nicolas Jaar.
Koné Bakary in Night Of The Kings
During the Rethinking World Cinema panel discussion with Chaitanya Tamhane (The Disciple), Philippe Lacôte (Night of the Kings), Louis Henderson and Olivier Marboeuf (Ouvertures) at the New York Film Festival, I sent in the following comment and question for Dea Kulumbegashvili: You worked with Matthieu Taponier, the editor of László Nemes’s Son Of Saul and Sunset. Can you talk about your collaboration with him?...
- 10/7/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Carlo Poggioli with Anne-Katrin Titze: “Satyricon by Fellini was one that made me think about Fellini and cinema costumes. And then Amarcord. Following this idea, that for me, the cinema was Federico Fellini. And when I worked with him, my dream came true.” Photo: Virginia Cademartori
In 2020, Terrence Malick’s The Last Planet, starring Matthias Schoenaerts, Géza Röhrig (László Nemes’s Oscar-winning Son Of Saul) and Tawfeek Barhom (Reed Morano’s The Rhythm Section) with Ben Kingsley, Mark Rylance and Joseph Mawle, and Paolo Sorrentino’s The New Pope series are two of the most anticipated projects.
Jude Law and John Malkovich star in Paolo Sorrentino’s The New Pope
Carlo Poggioli is the consummate, imaginative costume designer for both and has worked with Paolo Sorrentino since 2015.
When I met Carlo Poggioli at Ann Roth’s apartment on a rainy fall afternoon, the day after her birthday, Ann and Carlo...
In 2020, Terrence Malick’s The Last Planet, starring Matthias Schoenaerts, Géza Röhrig (László Nemes’s Oscar-winning Son Of Saul) and Tawfeek Barhom (Reed Morano’s The Rhythm Section) with Ben Kingsley, Mark Rylance and Joseph Mawle, and Paolo Sorrentino’s The New Pope series are two of the most anticipated projects.
Jude Law and John Malkovich star in Paolo Sorrentino’s The New Pope
Carlo Poggioli is the consummate, imaginative costume designer for both and has worked with Paolo Sorrentino since 2015.
When I met Carlo Poggioli at Ann Roth’s apartment on a rainy fall afternoon, the day after her birthday, Ann and Carlo...
- 1/2/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Change is afoot in the Oscars’ foreign-language race this year, and not only because the title of the category was switched to Best International Feature Film. For the first time, all eligible Academy members will be able to vote for the final five nominees. They will choose from a shortlist that has been upped to 10 from the traditional nine, seven of which will now be selected by the committee currently viewing all entries, along with three “saves” selected by the executive committee.
There has been controversy, though, about the name switch from Best Foreign Language Film, because the rules of eligibility haven’t changed. When the list of official submissions was released in early October, it included 93 films, which were then pared down by the expulsion of Austria’s Joy and Nigeria’s Lionheart, because they have predominantly English-language dialogue tracks.
So, we now have 91 features vying for the coveted...
There has been controversy, though, about the name switch from Best Foreign Language Film, because the rules of eligibility haven’t changed. When the list of official submissions was released in early October, it included 93 films, which were then pared down by the expulsion of Austria’s Joy and Nigeria’s Lionheart, because they have predominantly English-language dialogue tracks.
So, we now have 91 features vying for the coveted...
- 11/29/2019
- by Nancy Tartaglione
- Deadline Film + TV
Guillaume Nicloux, the French director of “Valley of Love,” is set to preside over the jury of the Arcs Film Festival, while the iconic French actress Isabelle Huppert (“Elle”) will be the patron of the second edition of the Talent Village.
Created last year, the Talent Village is a development workshop and platform for emerging talents aimed at helping them make their feature debut. Huppert will succeed to Danish director Thomas Vinterberg (“The Hunt”) who was the patron of the inaugural edition.
The festival, which celebrated its 10th anniversary last year, will also launch the Cinema Green Lab. Along the lines of its workshop program and award for women filmmakers, the Arcs festival will be hosting screenings of environment-themed movies, workshops discussing eco-friendly initiatives in the film industry, as well as panel discussions about ways to tackle these topics in fiction.
The Arcs fest will also hand out an award...
Created last year, the Talent Village is a development workshop and platform for emerging talents aimed at helping them make their feature debut. Huppert will succeed to Danish director Thomas Vinterberg (“The Hunt”) who was the patron of the inaugural edition.
The festival, which celebrated its 10th anniversary last year, will also launch the Cinema Green Lab. Along the lines of its workshop program and award for women filmmakers, the Arcs festival will be hosting screenings of environment-themed movies, workshops discussing eco-friendly initiatives in the film industry, as well as panel discussions about ways to tackle these topics in fiction.
The Arcs fest will also hand out an award...
- 10/22/2019
- by Elsa Keslassy
- Variety Film + TV
The horrors of war are often told through male-centric narratives. Heroes who go through hell on the battlefield, brothers who sacrifice everything for each other, soldiers who return home scarred for life etc., all of which we’ve seen put on the big screen time and again. But wars are of course collective nightmares, tears in the fabric of history that leave no one–men, women, children–unscathed.
This is the premise of Russian writer–director Kantemir Balagov’s second feature Beanpole, a radical relationship drama that examines the trauma of war from a distinctly female perspective. It doesn’t feature any battle scene, but shakes you to your core with its depiction of the cold, shell-shocked vacuum that the human mind turns into in the wake of unspeakable atrocities.
Set in post-wwii Leningrad, the film opens with a persistent ringing noise, as if a bomb went off somewhere nearby.
This is the premise of Russian writer–director Kantemir Balagov’s second feature Beanpole, a radical relationship drama that examines the trauma of war from a distinctly female perspective. It doesn’t feature any battle scene, but shakes you to your core with its depiction of the cold, shell-shocked vacuum that the human mind turns into in the wake of unspeakable atrocities.
Set in post-wwii Leningrad, the film opens with a persistent ringing noise, as if a bomb went off somewhere nearby.
- 10/13/2019
- by Zhuo-Ning Su
- The Film Stage
Ladj Ly’s politically charged urban drama Les Miserables has been chosen to represent France in the Best International Feature Film category at the 92nd Oscars. The Cannes Jury Prize winner also recently played Toronto and is opening the Colcoa fest in Los Angeles at the DGA this Monday. It will release in the U.S. via Amazon on January 10 after closing one of the biggest domestic deals ever for a French-language movie last May.
Ly, who was a rare first-timer in the Cannes Competition, as well as a Deadline One To Watch this year, wrote and directed Les Misérables which was inspired by the by the 2005 Paris riots, and Ly’s César-nominated short film of the same name. It takes a provocative look into the tensions between neighborhood residents and police, centering on Stéphane (Damien Bonnard), who has recently joined the anti-crime brigade in Montfermeil, the Paris suburb where...
Ly, who was a rare first-timer in the Cannes Competition, as well as a Deadline One To Watch this year, wrote and directed Les Misérables which was inspired by the by the 2005 Paris riots, and Ly’s César-nominated short film of the same name. It takes a provocative look into the tensions between neighborhood residents and police, centering on Stéphane (Damien Bonnard), who has recently joined the anti-crime brigade in Montfermeil, the Paris suburb where...
- 9/20/2019
- by Nancy Tartaglione
- Deadline Film + TV
A few days ago, on my first dispatch from the Lido, I wrote that Venice was grappling with some sort of identity crisis. Having long been a fortunate platform for awards season hopefuls—and with Cannes and Netflix's disagreement over releasing films in French cinemas, a new favorite turf for the streaming giant—the festival needs to juggle its role as window for large studio productions, and the arguably far more important one it plays as launchpad for smaller-budget, unconventional and daring works from old and new auteurs. By the time you’ll read this, Joker’s Golden Lion will be old news. Minutes after the Joaquin Phoenix vehicle nabbed a most unexpected statuette, festival director Alberto Barbera went on to hail Todd Philipps’ triumph, claiming that the jury’s verdict spoke to the goal the festival has been working toward: “to reconcile a rigorous, research-oriented auteur cinema with...
- 9/9/2019
- MUBI
After a string of disappointments, ’Midsommar’ may offer some hope.
Early box office reports for A24’s horror film Midsommar, starring Florence Pugh, could be just what the Us independent sector needs after a rocky ride in the first half of 2019.
Ari Aster’s follow-up to Sundance 2018 sensation Hereditary is forecast to gross around $13m this weekend and could not come soon enough. If it builds on the $3m Wednesday opening day reported by A24, on a reported $10m marketing spend, that could deliver at least temporary respite for a gloomy independent sector reeling from a string of disappointing releases.
Early box office reports for A24’s horror film Midsommar, starring Florence Pugh, could be just what the Us independent sector needs after a rocky ride in the first half of 2019.
Ari Aster’s follow-up to Sundance 2018 sensation Hereditary is forecast to gross around $13m this weekend and could not come soon enough. If it builds on the $3m Wednesday opening day reported by A24, on a reported $10m marketing spend, that could deliver at least temporary respite for a gloomy independent sector reeling from a string of disappointing releases.
- 7/5/2019
- by Jeremy Kay
- ScreenDaily
When the producers of Lionsgate’s “The Spy Who Dumped Me” were struggling to get a permit for a key location on the streets of Budapest several years ago, they knew exactly where to turn. “I called Andy,” says Adam Goodman, whose Mid Atlantic Films serviced the shoot. “I said, ‘Look, we need your help.’”
Goodman might have expected Hungarian film commissioner Andy Vajna to pick up the phone and call in a favor. But on the day of Mid Atlantic’s pitch, a black minivan pulled up to the stairs of the mayor’s office. “Andy steps out with the mirrored sunglasses, the suit, smoking a cigar,” Goodman recalls recently in Budapest. “As we walked into the mayor’s offices, it was like the parting of the Red Sea.” Vajna’s presence gave a winning presentation added weight, according to Goodman. Within days of the meeting, he had the permit he needed.
Goodman might have expected Hungarian film commissioner Andy Vajna to pick up the phone and call in a favor. But on the day of Mid Atlantic’s pitch, a black minivan pulled up to the stairs of the mayor’s office. “Andy steps out with the mirrored sunglasses, the suit, smoking a cigar,” Goodman recalls recently in Budapest. “As we walked into the mayor’s offices, it was like the parting of the Red Sea.” Vajna’s presence gave a winning presentation added weight, according to Goodman. Within days of the meeting, he had the permit he needed.
- 6/5/2019
- by Christopher Vourlias
- Variety Film + TV
Once upon a time in Cannes, a wild-eyed rebel kicked his foot through the basement window of Hollywood, stealing helter skelter from his favorite B-movies and lowbrow genres, and splicing them into the king of all cult movies. Mind you, that was a quarter-century ago, the year Quentin Tarantino’s “Pulp Fiction” won the Palme d’Or.
It’s a different world now, and Cannes is a different beast. Unspooling 25 years to the night after “Pulp Fiction,” Tarantino’s latest meta-movie remix, “Once Upon a Time … in Hollywood,” may have been the hottest ticket of the event, but the film hardly made the same impact. The 159-minute fetish exercise — an epic homage to dirty feet, neon-lit classic L.A. dives and showbiz in-jokes, set half a century ago, on the eve of the Manson Family murders — got the customary standing ovation following its red-carpet premiere (that’s standard practice at...
It’s a different world now, and Cannes is a different beast. Unspooling 25 years to the night after “Pulp Fiction,” Tarantino’s latest meta-movie remix, “Once Upon a Time … in Hollywood,” may have been the hottest ticket of the event, but the film hardly made the same impact. The 159-minute fetish exercise — an epic homage to dirty feet, neon-lit classic L.A. dives and showbiz in-jokes, set half a century ago, on the eve of the Manson Family murders — got the customary standing ovation following its red-carpet premiere (that’s standard practice at...
- 5/28/2019
- by Peter Debruge
- Variety Film + TV
Tom Quinn, the founder of the indie studio Neon, thought that Netflix was making a big mistake. After seeing “Okja,” Bong Joon-ho’s eccentric creature feature, he believed passionately that the the offbeat visuals and ambitious story of girl’s bond with a super pig needed to be seen on the big screen. So began a six-month attempt by Quinn to convince the streaming service to partner with Neon on a theatrical release, an effort that ultimately failed.
“I felt it was a huge mistake,” said Quinn.
When Bong announced that he had a script for his next movie, “Parasite,” Quinn didn’t hesitate. He bought the project at the script stage, a highly unusual move for a U.S. studio.
“My disappointment at losing out on ‘Okja’ combined with my love for director Bong’s work caused me to be relentless in my pursuit of his next film,” said Quinn.
“I felt it was a huge mistake,” said Quinn.
When Bong announced that he had a script for his next movie, “Parasite,” Quinn didn’t hesitate. He bought the project at the script stage, a highly unusual move for a U.S. studio.
“My disappointment at losing out on ‘Okja’ combined with my love for director Bong’s work caused me to be relentless in my pursuit of his next film,” said Quinn.
- 5/18/2019
- by Brent Lang
- Variety Film + TV
Whenever a first-time feature director makes it into the Cannes Film Festival Competition it’s worth taking notice. Only a small handful have achieved the honor in recent years, and one, László Nemes back in 2015, took his Son of Saul all the way from the Croisette to the Foreign Language Film Oscar. This year, Ladj Ly has the distinction of being the sole debutant with Les Misérables, not adapted from, but echoing some of the strife of Victor Hugo’s classic 1862 novel of the same name, and set in today’s Paris.
Ly is a French actor and documentary filmmaker who hails from the Parisian suburb of Montfermeil, which inspired the setting of the Hugo novel. To give a hint at expectations for Ly’s film, Vincent Maraval, the co-founder of Wild Bunch, describes Ly’s talent thus: “Ladj is a ray of sunshine in a peevish cinematographic landscape. He’s the new boss,...
Ly is a French actor and documentary filmmaker who hails from the Parisian suburb of Montfermeil, which inspired the setting of the Hugo novel. To give a hint at expectations for Ly’s film, Vincent Maraval, the co-founder of Wild Bunch, describes Ly’s talent thus: “Ladj is a ray of sunshine in a peevish cinematographic landscape. He’s the new boss,...
- 5/16/2019
- by Nancy Tartaglione
- Deadline Film + TV
The director of the Auschwitz-set Oscar-winner senses dark times ahead – and believes blockbusters are partly responsible. Is that why his second film, Sunset, is so baffling?
The day before we met, László Nemes went to see a superhero movie. He didn’t last long. “I found it unwatchable and false, boring and self-referential, a world of ideal people who don’t behave as humans but more like machines.”
He smiles. It’s tea-time in the Islington, north London branch of Caffè Nero and Nemes gently explains that such films infantilise viewers in two ways. The plots let them defer responsibility for the fate of the world to demigods; the way they are shot – lots of signposting, everything carefully controlled – offers a false sense of omniscience.
The day before we met, László Nemes went to see a superhero movie. He didn’t last long. “I found it unwatchable and false, boring and self-referential, a world of ideal people who don’t behave as humans but more like machines.”
He smiles. It’s tea-time in the Islington, north London branch of Caffè Nero and Nemes gently explains that such films infantilise viewers in two ways. The plots let them defer responsibility for the fate of the world to demigods; the way they are shot – lots of signposting, everything carefully controlled – offers a false sense of omniscience.
- 5/10/2019
- by Catherine Shoard
- The Guardian - Film News
IFC Films drama Diane starring Mary Kay Place is leading a crowded pack of specialty newcomers this weekend, with no debut limited release title breaking even above a five-figure per theater average as of the initial Sunday morning averages. Diane by writer-director Kent Jones grossed $27,043, averaging $9,014.
PBS Films opened its first narrative feature, The Chaperone, starring Elizabeth McGovern and Haley Lu Richardson in two New York theaters. The title, by upcoming Downton Abbey feature director Michael Engler, grossed $12,150, averaging $6,075 for the weekend’s second best showing among the slow-go specialties.
Magnolia Pictures bowed Sundance ’19 doc The Brink by Alison Klayman in four New York, L.A. and Washington, D.C. theaters for $18,370 for a $4,593 PTA.
Other reporting specialties making their theatrical launches include Comedy Dynamics’ French-language comedy Slut In A Good Way, playing 7 weekend runs for $22K and Greenwich Entertainment’s baseball doping doc Screwball, taking $12K in 13 locations...
PBS Films opened its first narrative feature, The Chaperone, starring Elizabeth McGovern and Haley Lu Richardson in two New York theaters. The title, by upcoming Downton Abbey feature director Michael Engler, grossed $12,150, averaging $6,075 for the weekend’s second best showing among the slow-go specialties.
Magnolia Pictures bowed Sundance ’19 doc The Brink by Alison Klayman in four New York, L.A. and Washington, D.C. theaters for $18,370 for a $4,593 PTA.
Other reporting specialties making their theatrical launches include Comedy Dynamics’ French-language comedy Slut In A Good Way, playing 7 weekend runs for $22K and Greenwich Entertainment’s baseball doping doc Screwball, taking $12K in 13 locations...
- 3/31/2019
- by Brian Brooks
- Deadline Film + TV
While Jordan Peele’s “Us” had the new release slat mostly to itself this weekend, the limited release front did see the release of Bleecker Street’s “Hotel Mumbai,” the true story thriller about the 2008 attack on the Taj Mahal Palace Hotel in Mumbai.
Released on four screens in New York and Los Angeles, the film grossed $86,492 for a solid per screen average of $21,623, the best average for any release this weekend. Directed by Anthony Maras and starring Dev Patel and Armie Hammer, the movie was filmed two years ago and was originally set to be released by The Weinstein Company, but was picked up by Bleecker Street after TWC declared bankruptcy. It has a 73 percent score on Rotten Tomatoes.
Also Read: Jordan Peele's 'Us' Breaks Original Horror Film Record With $70 Million Opening
Also releasing this weekend was “Sunset,” László Nemes’ follow-up to his 2016 Best Foreign Language Oscar winner “Son of Saul.
Released on four screens in New York and Los Angeles, the film grossed $86,492 for a solid per screen average of $21,623, the best average for any release this weekend. Directed by Anthony Maras and starring Dev Patel and Armie Hammer, the movie was filmed two years ago and was originally set to be released by The Weinstein Company, but was picked up by Bleecker Street after TWC declared bankruptcy. It has a 73 percent score on Rotten Tomatoes.
Also Read: Jordan Peele's 'Us' Breaks Original Horror Film Record With $70 Million Opening
Also releasing this weekend was “Sunset,” László Nemes’ follow-up to his 2016 Best Foreign Language Oscar winner “Son of Saul.
- 3/24/2019
- by Jeremy Fuster
- The Wrap
Bleecker Street opened Hotel Mumbai in four theaters Friday and appears to have caught some attention from audiences not heading to Us. Overall, the specialties were mostly light. Hotel Mumbai, starring Oscar-nominee Dev Patel and Armie Hammer, grossed $86,492 in four theaters, averaging $21,623, by far the best showing among limited release titles this weekend.
Sony Pictures Classics bowed period drama Sunset by László Nemes in 3 New York and L.A. locations Friday. Its three-day estimate is $15K. Nemes’ previous feature, Son Of Saul, took the Oscar for Best Foreign Language film in 2016 and cumed over $1.77M at the box office. In its debut, Son Of Saul grossed nearly $38K in three theaters in its opening three-day, averaging $12,643.
IFC’s Toronto ’18 drama-mystery Out Of Blue went to 35 theaters. The title floundered with a $17,682 gross, averaging $505.
Focus Features’ The Mustang had the weekend’s best PTA among the specialty openers last weekend.
Sony Pictures Classics bowed period drama Sunset by László Nemes in 3 New York and L.A. locations Friday. Its three-day estimate is $15K. Nemes’ previous feature, Son Of Saul, took the Oscar for Best Foreign Language film in 2016 and cumed over $1.77M at the box office. In its debut, Son Of Saul grossed nearly $38K in three theaters in its opening three-day, averaging $12,643.
IFC’s Toronto ’18 drama-mystery Out Of Blue went to 35 theaters. The title floundered with a $17,682 gross, averaging $505.
Focus Features’ The Mustang had the weekend’s best PTA among the specialty openers last weekend.
- 3/24/2019
- by Brian Brooks
- Deadline Film + TV
László Nemes is a filmmaker who keeps his friends close and his cameras closer. The Hungarian director’s devastating 2015 debut, Son of Saul, distinguished itself not just by sticking right next to its main character but virtually breathing down his neck — the fact that our guide was a Sonderkommando at Auschwitz, grimly trying to survive a waking nightmare, only heightened the effect. The actor Geza Rohrig’s face took up most of the frame’s real estate and blocked out the horror you could hear happening offscreen; it also made...
- 3/23/2019
- by David Fear
- Rollingstone.com
Sunset (Napszállta) director László Nemes between Martin Scorsese and Frederick Wiseman: "In my childhood I was incredibly affected by tales, a lot of tales." Photo: Anne-Katrin Titze
In the second half of my conversation on Sunset (Napszállta) with the director of the Oscar-winning Son Of Saul (Saul Fia), László Nemes spoke about the influence of fairy tales, Fw Murnau's Sunrise, "creating imagery that is in the mind", and the "mission of cinema." He mentioned Michelangelo Antonioni's Blow Up as a film that "would not give you exactly the answers" and I thought of Charles Laughton's Night of the Hunter and John Huston's African Queen for his boat scenes in Sunset.
László Nemes on Írisz (Juli Jakab): "I'm interested in transmitting something and sharing something."
László Nemes mixes memory and desire unlike any other filmmaker today. His latest feature stirs us with the remarkable tale of...
In the second half of my conversation on Sunset (Napszállta) with the director of the Oscar-winning Son Of Saul (Saul Fia), László Nemes spoke about the influence of fairy tales, Fw Murnau's Sunrise, "creating imagery that is in the mind", and the "mission of cinema." He mentioned Michelangelo Antonioni's Blow Up as a film that "would not give you exactly the answers" and I thought of Charles Laughton's Night of the Hunter and John Huston's African Queen for his boat scenes in Sunset.
László Nemes on Írisz (Juli Jakab): "I'm interested in transmitting something and sharing something."
László Nemes mixes memory and desire unlike any other filmmaker today. His latest feature stirs us with the remarkable tale of...
- 3/22/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Two historic dramas headline a comparatively slow weekend for new Specialty roll outs vs. last weekend’s heavy roster. Bleecker Street/ShivHans Pictures’ Hotel Mumbai with Oscar-nominee Dev Patel and Golden Globe-nominee Armie Hammer will have a minimal start in New York and Los Angeles ahead of a fairly wide release in the coming weeks. The film recounts the true events in 2008 when terrorists laid siege of the Taj Hotel in Mumbai. Sony Pictures Classics is opening Budapest-set Sunset by László Nemes, whose previous feature, Son Of Saul won the Oscar for Best Foreign Language film. Sunset is a fictional drama set amid the tense days leading up to World War I. The film will have a slow roll out, beginning in New York and L.A. Grand Rapids, Michigan, however, will have the theatrical bow for Oscilloscope’s Relaxer by Joel Potrykus. The company is opening the title...
- 3/21/2019
- by Brian Brooks
- Deadline Film + TV
A few years ago, filmmaker László Nemes blew festival audiences away with his Holocaust tale Son of Saul. Starting with an award winning debut at the Cannes Film Festival, the movie more or less swept the awards season, culminating in an Oscar for Best Foreign Language Feature. Nemes was immediately a new name to watch on the international cinema stage. Now, after screening a bit last year, his follow up effort Sunset hits theaters this week. Unfortunately, he’s not able to repeat the success from last time out. This is a definite letdown of an experience and a real big disappointment. Alas. The film is a drama set in Budapest during the year 1913, before World War I would devastate Europe. When Irisz Leiter (Juli Jakab) first arrives in the Hungarian capital, she aims to work at a special hat store that once belonged to her late parents. Despite the desire to become a milliner,...
- 3/21/2019
- by Joey Magidson
- Hollywoodnews.com
I saw Hungarian director/writer László Nemes' sophomore film Sunset at this year's Film Comment Selects series and was blown away by it. It is just as strong as his phenomenal debut film Son of Saul, a riveting Holocaust drama that brought him awards and international recognition. Layered, complex and technically brilliant, Sunset is a challenging film that will leave an indelible mark on many year-end lists as one of the best films of 2019. I missed the chance to talk to him in New York due to his flu symptoms, but he graciously granted a Skype interview at a later date. This is the how the interview went down: Screen Anarchy: Sunset is co-written by Clara Royer and Matthieu Taponier. How was the writing process...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 3/18/2019
- Screen Anarchy
László Nemes (looking at Martin Scorsese) on the stiff collar worn by Írisz in Sunset, costumes by Györgyi Szakács: "And it goes down with the film." Photo: Anne-Katrin Titze
Sunset (Napszállta) is cinema at its astute and enchanting finest. Max Ophüls and Jean Renoir may come to mind and the scene in the shoe department of Romanze in Moll, Helmut Käutner's take on Guy De Maupassant. In a similar mode to the way László Nemes chained us to the back of the neck of Géza Röhrig's Saul Ausländer in his groundbreaking, Oscar-winning Son Of Saul (also shot by Mátyás Erdély), he attaches us firmly to his Sunset heroine Írisz Leiter (Juli Jakab), a young woman who returns, after years of apprenticeship in Trieste, to her native Budapest in hopes of working as a milliner at the famous Leiter department store her deceased parents used to own.
László...
Sunset (Napszállta) is cinema at its astute and enchanting finest. Max Ophüls and Jean Renoir may come to mind and the scene in the shoe department of Romanze in Moll, Helmut Käutner's take on Guy De Maupassant. In a similar mode to the way László Nemes chained us to the back of the neck of Géza Röhrig's Saul Ausländer in his groundbreaking, Oscar-winning Son Of Saul (also shot by Mátyás Erdély), he attaches us firmly to his Sunset heroine Írisz Leiter (Juli Jakab), a young woman who returns, after years of apprenticeship in Trieste, to her native Budapest in hopes of working as a milliner at the famous Leiter department store her deceased parents used to own.
László...
- 3/14/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Eight years on from announcing his retirement from filmmaking following the release of The Turin Horse, Hungarian maestro Béla Tarr is keeping busy. In 2013 he opened a film school in Sarajevo and ran it for three years. In 2017 he contributed a multi-room video-art installation to the Eye film museum in Amsterdam. This year sees the opening of a new experimental theatrical work in Vienna as well as the release of a 4K restoration of his 1994 opus Sátántangó.
Tarr attended the Berlin Film Festival earlier this month for the first public screening of that 432-minute epic’s new iteration. The event took place in the Delphi theatre in Charlottenberg, the very same cinema where it had its German premiere a quarter-century ago. We caught a moment with him, in-between smoke breaks, just across the road in the Savoy hotel. His mood was terse, fraught, a little gloomy. One wouldn’t have it any other way.
Tarr attended the Berlin Film Festival earlier this month for the first public screening of that 432-minute epic’s new iteration. The event took place in the Delphi theatre in Charlottenberg, the very same cinema where it had its German premiere a quarter-century ago. We caught a moment with him, in-between smoke breaks, just across the road in the Savoy hotel. His mood was terse, fraught, a little gloomy. One wouldn’t have it any other way.
- 2/27/2019
- by Rory O'Connor
- The Film Stage
With the elongated awards season behind us, it’s time to turn our attention to the 2019 cinematic offerings and this month is a doozy. Featuring some of the greatest films we saw on the festival circuit in the last year as well as a few hugely promising new releases, it’s a varied, impressive slate. There’s also one film that I full-heartedly despised and couldn’t bear to mention, but other writers here feel on the other end of the spectrum, so it should at least provoke some heated discussion this month.
Matinees to See: Greta (3/1), The Hole in the Ground (3/1), Woman at War (3/1), The Boy Who Harnessed the Wind (3/1), Leaving Neverland (3/3 & 3/4), Triple Frontier (3/6), Gloria Bell (3/8) Two Plains & a Fancy (3/8), The Mustang (3/15), The Eyes of Orson Welles (3/15), The Aftermath (3/15), The Hummingbird Project (3/15), Ramen Shop (3/22), Hotel Mumbai (3/22), The Highwaymen (3/29)
15. Giant Little Ones (Keith Behrman; March 1)
Considering the breadth of films...
Matinees to See: Greta (3/1), The Hole in the Ground (3/1), Woman at War (3/1), The Boy Who Harnessed the Wind (3/1), Leaving Neverland (3/3 & 3/4), Triple Frontier (3/6), Gloria Bell (3/8) Two Plains & a Fancy (3/8), The Mustang (3/15), The Eyes of Orson Welles (3/15), The Aftermath (3/15), The Hummingbird Project (3/15), Ramen Shop (3/22), Hotel Mumbai (3/22), The Highwaymen (3/29)
15. Giant Little Ones (Keith Behrman; March 1)
Considering the breadth of films...
- 2/27/2019
- by Jordan Raup
- The Film Stage
Deserting a festival’s official competition for a thematic retrospective can feel somewhat awkward, especially at an extravaganza so rich in new voices as the International Film Festival Rotterdam (Iffr). Yet the decision proved most fruitful with “The Spying Thing,” a sidebar Iffr devoted to “espionage as a way of filming and the camera as a spying weapon.” A 21-strong lineup offered timeless classics as well as some of the world cinema's latest offerings (László Nemes’ Sunset and Yoon Jong-bin’s The Spy Gone North). Yet “The Spying Thing” started—according to Gustavo Beck, who co-curated it alongside Gerwin Tamsma—with the second of Mariano Llinás’ monumental 3-part, 14-hour epic La Flor. I shall not attempt to dwell into Llinás’ opus magnum—Ross McDonnell already did an egregious job for the Notebook reviewing it at its Locarno premiere last August. Suffice it to say that La Flor’s second chapter...
- 2/25/2019
- MUBI
Géza Röhrig stars opposite Matthew Broderick in Shawn Snyder's adventurous To Dust Photo: Anne-Katrin Titze
Following a conversation on Sunset with László Nemes, the director of the Oscar-winning Son Of Saul, which starred Géza Röhrig, I headed down from the Film Society of Lincoln Center to the Village East Cinema for an opening weekend post-screening discussion with Géza, To Dust director Shawn Snyder and his co-screenwriter Jason Begue.
Before questions and comment from the audience, I started where I left off with László - Ts Eliot's The Waste Land and what is in The Burial Of The Dead. A woman's voice sings a lullaby at the beginning of To Dust and Shmuel (Röhrig) closes the film with the same haunting song in the bedroom of his two boys, Noam and Naftali (Leo Heller and Sammy Voit) right before Tom Waits' Blow Wind Blow is heard over the end credits.
Following a conversation on Sunset with László Nemes, the director of the Oscar-winning Son Of Saul, which starred Géza Röhrig, I headed down from the Film Society of Lincoln Center to the Village East Cinema for an opening weekend post-screening discussion with Géza, To Dust director Shawn Snyder and his co-screenwriter Jason Begue.
Before questions and comment from the audience, I started where I left off with László - Ts Eliot's The Waste Land and what is in The Burial Of The Dead. A woman's voice sings a lullaby at the beginning of To Dust and Shmuel (Röhrig) closes the film with the same haunting song in the bedroom of his two boys, Noam and Naftali (Leo Heller and Sammy Voit) right before Tom Waits' Blow Wind Blow is heard over the end credits.
- 2/10/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
In its 19th edition, Film Comment Selects provides a showcase for various films from around the world, their contribution to cinema deemed important and vital by Film Comment Magazine's esteemed editors. This year's lineup includes Steven Soderbergh's High Flying Bird, once again shot on an iPhone; László Nemes' Sunset, his followup to Son of Saul; Flight of a Bullet, a one-take docu into the heart of the Russia-Ukraine conflict; Up the Mountain, Zhang Yang's formally daring portrait of Bai people in Western China; and The Hidden City, a sensory tour of Madrid's underground. Most of these films in the selection are not what you call masterpieces, but each brings a spark and its unique colors to cinema. This is the reason why I love the series. It...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 2/5/2019
- Screen Anarchy
Géza Röhrig on his co-star Matthew Broderick in Shawn Snyder's To Dust: "He's a born comedian." Photo: Anne-Katrin Titze
Shawn Snyder was the winner of the Tribeca Film Festival New Narrative Director Competition and Audience Award for To Dust, co-written with Jason Begue, shot by Xavi Giménez, which stars Matthew Broderick and Géza Röhrig as a well-matched odd couple. The film, co-produced by Emily Mortimer and Alessandro Nivola, with music by Tom Waits, Jethro Tull, and a score by Ariel Marx, has a terrific supporting cast, including Natalie Carter as security guard Stella by Starlight, Joseph Siprut as the undertaker, and two young boys, Leo Heller and Sammy Voit, who secretly watch Michal Waszynski's The Dybbuk.
A grave Albert (Matthew Broderick) with Shmuel (Géza Röhrig) in To Dust
Géza Röhrig, who was Saul Ausländer in László Nemes's Oscar-winning Son Of Saul, sat down with me at the...
Shawn Snyder was the winner of the Tribeca Film Festival New Narrative Director Competition and Audience Award for To Dust, co-written with Jason Begue, shot by Xavi Giménez, which stars Matthew Broderick and Géza Röhrig as a well-matched odd couple. The film, co-produced by Emily Mortimer and Alessandro Nivola, with music by Tom Waits, Jethro Tull, and a score by Ariel Marx, has a terrific supporting cast, including Natalie Carter as security guard Stella by Starlight, Joseph Siprut as the undertaker, and two young boys, Leo Heller and Sammy Voit, who secretly watch Michal Waszynski's The Dybbuk.
A grave Albert (Matthew Broderick) with Shmuel (Géza Röhrig) in To Dust
Géza Röhrig, who was Saul Ausländer in László Nemes's Oscar-winning Son Of Saul, sat down with me at the...
- 2/5/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
While 2018 is nearly over, the next year is right around the corner. Luckily, a fair bit of the highlights from the 2019 upcoming release calendar have already screened on the 2018 festival circuit and beyond. These include a number of features that topped this year’s IndieWire Critics’ Poll of the best 2019 films that already screened — from Claire Denis’ “High Life,” to Christian Petzold’s “Transit,” Asghar Farhadi’s “Everybody Knows,” Alex Ross Perry’s “Her Smell,” and Gaspar Noé’s “Climax.”
IndieWire has curated 22 titles worthy of anticipation and combined them all into a single guide, complete with release dates and review snippets that provide a sneak peak of several movies bound to be a part of the year-end conversation 12 months down the line.
Of note: This list only includes films we have already seen that have a set 2019 release date or have been picked up for distribution with 2019 release dates to be set.
IndieWire has curated 22 titles worthy of anticipation and combined them all into a single guide, complete with release dates and review snippets that provide a sneak peak of several movies bound to be a part of the year-end conversation 12 months down the line.
Of note: This list only includes films we have already seen that have a set 2019 release date or have been picked up for distribution with 2019 release dates to be set.
- 12/20/2018
- by Kate Erbland
- Indiewire
Aleksandra Terpinska’s “Other People” and Peter Dourountzis’s “Rascal” won the inaugural Arte Kino International Prize at the 10th edition of Les Arcs Film Festival’s Co-Production Village.
The award was given by Remi Burah, who runs Arte France Cinéma and launched in 2016 ArteKino Festival, a European online festival in partnership with the digital service Festival Scope. Each “Other People” and “Rascal” will receive 2000 Euros.
Mixing comedy, drama and musical, “Other People” tells the story of a man who lives with his mum and teenage sister who starts a romance with Iwona, a woman in her early 40’s who cannot cope with her marriage. “Other People” was selected as part of this year’s focus on Poland. Terpinska’s last short “The Best Fireworks Ever” premiered at Cannes’s Critics’ Week and won two awards.
Meanwhile, “Rascal” in a French-language thriller following a charming young man who arrives in...
The award was given by Remi Burah, who runs Arte France Cinéma and launched in 2016 ArteKino Festival, a European online festival in partnership with the digital service Festival Scope. Each “Other People” and “Rascal” will receive 2000 Euros.
Mixing comedy, drama and musical, “Other People” tells the story of a man who lives with his mum and teenage sister who starts a romance with Iwona, a woman in her early 40’s who cannot cope with her marriage. “Other People” was selected as part of this year’s focus on Poland. Terpinska’s last short “The Best Fireworks Ever” premiered at Cannes’s Critics’ Week and won two awards.
Meanwhile, “Rascal” in a French-language thriller following a charming young man who arrives in...
- 12/19/2018
- by Elsa Keslassy
- Variety Film + TV
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