MK2 Films has acquired a collection of films and TV series directed by Bruno Dumont, the award-winning French director behind “Life of Jesus” and “Humanity.”
The acquisition, unveiled during Mipcom Cannes, covers the bulk of the director’s work, spanning eight films and TV series including “Li’l Quinquin,” which premiered at Cannes’ Directors’ Fortnight. MK2 Films will represent rights to some of these titles, in France and/or international markets, apart from a few titles like “Slack Bay” whose global rights are still handled by Memento International.
“Bruno Dumont is, of course, a major figure of contemporary cinema,” said Nathanaël Karmitz, MK2’s chairman of the executive board. Karmitz praised Dumont for the “originality of his unusual, unpredictable [films], veering from gravitas to some unnerving, comedic tangents.” He continued, “Iconoclastic and consistently courageous in its form, his work perfectly represents the free and ambitious cinema that we are proud to promote.
The acquisition, unveiled during Mipcom Cannes, covers the bulk of the director’s work, spanning eight films and TV series including “Li’l Quinquin,” which premiered at Cannes’ Directors’ Fortnight. MK2 Films will represent rights to some of these titles, in France and/or international markets, apart from a few titles like “Slack Bay” whose global rights are still handled by Memento International.
“Bruno Dumont is, of course, a major figure of contemporary cinema,” said Nathanaël Karmitz, MK2’s chairman of the executive board. Karmitz praised Dumont for the “originality of his unusual, unpredictable [films], veering from gravitas to some unnerving, comedic tangents.” He continued, “Iconoclastic and consistently courageous in its form, his work perfectly represents the free and ambitious cinema that we are proud to promote.
- 10/16/2023
- by Elsa Keslassy
- Variety Film + TV
Belgian directors Jean-Pierre and Luc Dardenne excel at showing how the struggles of the underprivileged can lead them down morally questionable paths, but when “Young Ahmed” begins, that journey has started long ago. As 13-year-old Ahmed (Idir Ben Addi in a breakout turn) spends his days studying radical Islam with Imam Youssouf (Othmane Moumen), much to the consternation of his frantic mother Louise (Claire Bodson), the child has already committed himself to jihad. Within the first act of the movie, he has sworn himself to murdering his secular teacher Ines (Miriam Akheddiou), and the reckless act lands him in juvenile detention. The rest of the movie finds the kid struggling with his confused ideology, as various characters attempt to sway his beliefs.
In the pantheon of Dardenne brothers movies from the past three decades, “Young Ahmed” lies somewhere on the spectrum ahead of mediocre works like “The Unknown Girl” but...
In the pantheon of Dardenne brothers movies from the past three decades, “Young Ahmed” lies somewhere on the spectrum ahead of mediocre works like “The Unknown Girl” but...
- 5/20/2019
- by Eric Kohn
- Indiewire
This article was produced as part of the Locarno Critics Academy, a workshop for aspiring journalists at the Locarno Film Festival, a collaboration between the Locarno Film Festival, IndieWire and the Film Society of Lincoln Center with the support of Film Comment and the Swiss Alliance of Film Journalists.
“In France, young people get hell from the government who tells them to stop dreaming, to be more grounded.” – Axelle Ropert
During the conference following the press screening of her third feature film, “The Apple of My Eye” — which was competing for the Golden Leopard at the 69th Locarno International Film Festival — Axelle Ropert said that she “absolutely” wanted to depict today’s European youth in her new film. That will come as a surprise to those who have followed Ropert’s work as a screenwriter, director and film critic known for her disinterest in films that deal with modern-day concerns.
“In France, young people get hell from the government who tells them to stop dreaming, to be more grounded.” – Axelle Ropert
During the conference following the press screening of her third feature film, “The Apple of My Eye” — which was competing for the Golden Leopard at the 69th Locarno International Film Festival — Axelle Ropert said that she “absolutely” wanted to depict today’s European youth in her new film. That will come as a surprise to those who have followed Ropert’s work as a screenwriter, director and film critic known for her disinterest in films that deal with modern-day concerns.
- 8/11/2016
- by Fanta Sylla
- Indiewire
Streaming service acquires rights for Us and UK.
Global streaming service Mubi has secured theatrical and digital rights to a brace of buzz titles from this year’s Cannes Film Festival: The Happiest Day In the Life Of Olli Maki, which won the Un Certain Regard prize, and Bruno Dumont’s Cannes Competition title Slack Bay.
The curated VOD service has acquired rights for the Us and UK/Eire on Olli Maki and has also acquired Svod window rights for the film in Latin America.
The film marks the feature debut of Finland’s Juho Kuosmanen and tells the true story of Finnish boxing hero, Olli Mäki as he attempts to win the world championship featherweight title in the summer of 1962.
Slack Bay
For Slack Bay, Mubi has taken theatrical, home entertainment and digital rights in the UK/Eire, and the film will be released in partnership with New Wave Films, marking their second...
Global streaming service Mubi has secured theatrical and digital rights to a brace of buzz titles from this year’s Cannes Film Festival: The Happiest Day In the Life Of Olli Maki, which won the Un Certain Regard prize, and Bruno Dumont’s Cannes Competition title Slack Bay.
The curated VOD service has acquired rights for the Us and UK/Eire on Olli Maki and has also acquired Svod window rights for the film in Latin America.
The film marks the feature debut of Finland’s Juho Kuosmanen and tells the true story of Finnish boxing hero, Olli Mäki as he attempts to win the world championship featherweight title in the summer of 1962.
Slack Bay
For Slack Bay, Mubi has taken theatrical, home entertainment and digital rights in the UK/Eire, and the film will be released in partnership with New Wave Films, marking their second...
- 6/2/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Soak up the Sun: Pialat’s Palme d’Or Winning Spiritual Anguish
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
As part of Cohen Media Group’s Maurice Pialat retrospective, perhaps the most significant title showcased in the lineup is his infamous 1987 title, Under the Sun of Satan. Instantly reviled after winning the coveted Palme d’Or at the Cannes Film Festival (with a jury made up of such heavy-hitters as Elem Klimov, Jerzy Skolimowski, Theo Angelopoulos, and Norman Mailer), where Pialat was jeered by a disapproving crowd, the title quickly lapsed into obscurity following a continually tepid critical reception.
Perhaps Pialat’s austere and increasingly deliberate examination of mental and spiritual anguish told through the perspective of a bumbling priest whose blasphemous predicament proves only the presence of Satan rather than God was as simultaneously too old fashioned as it was inconveniently provocative. Based on a 1927 novel by French author Georges Bernanos, Pialat’s treatment does seem...
- 9/29/2015
- by Nicholas Bell
- IONCINEMA.com
The following exchange took place between critics Michael Pattison and Neil Young over email between 4 and 8 August, not long after Li’l Quinquin screened at Wrocław’s New Horizons International Film Festival—following its world-premiere at Cannes earlier this year, and now playing at the Toronto International Film Festival.
Set in a village in northern France and originally made in four parts for transmission on French television, Bruno Dumont’s latest work is 200 minutes in length and chronicles an unorthodox murder investigation conducted by Capt Van der Weyden (Bernard Pruvost) under the watchful eyes of a rambunctious kid known only by his nickname, Li'l Quinquin (Alane Delhaye).
Spoiler Warning: this exchange reveals and discusses significant plot details of Li’l Quinquin
Michael Pattison: You remarked on Twitter earlier that you were still thinking about Li’l Quinquin a day after seeing it—that, having slept on it, the film...
Set in a village in northern France and originally made in four parts for transmission on French television, Bruno Dumont’s latest work is 200 minutes in length and chronicles an unorthodox murder investigation conducted by Capt Van der Weyden (Bernard Pruvost) under the watchful eyes of a rambunctious kid known only by his nickname, Li'l Quinquin (Alane Delhaye).
Spoiler Warning: this exchange reveals and discusses significant plot details of Li’l Quinquin
Michael Pattison: You remarked on Twitter earlier that you were still thinking about Li’l Quinquin a day after seeing it—that, having slept on it, the film...
- 9/10/2014
- by Neil Young
- MUBI
Above: Birdsong.
At the outset of Albert Serra's Birdsong (2008), the Three Wise Men, caught in a sudden rainstorm and retreating into a cave to wait it out peruse the boulders around them. One of the Magi declares, “If you look close enough, you can see a lot of things. Sometimes what we see is so beautiful it petrifies us,” perfectly, if unwittingly, encapsulating the director’s method of operation. As the trio literally dissolves into a backdrop of majestic landscapes, the Biblical plot also withdraws from the foreground: a maneuver not unfamiliar to those who have seen Serra’s previous feature, Quixotic/Honor de Cavelleria (2006), a less than faithful adaptation of de Cervantes's Don Quixote. Calling it an adaptation, however, should be taken with a grain of salt insofar as Serra deliberately emptied the canonical chivalric novel of all its contents save the two lonely souls at its core,...
At the outset of Albert Serra's Birdsong (2008), the Three Wise Men, caught in a sudden rainstorm and retreating into a cave to wait it out peruse the boulders around them. One of the Magi declares, “If you look close enough, you can see a lot of things. Sometimes what we see is so beautiful it petrifies us,” perfectly, if unwittingly, encapsulating the director’s method of operation. As the trio literally dissolves into a backdrop of majestic landscapes, the Biblical plot also withdraws from the foreground: a maneuver not unfamiliar to those who have seen Serra’s previous feature, Quixotic/Honor de Cavelleria (2006), a less than faithful adaptation of de Cervantes's Don Quixote. Calling it an adaptation, however, should be taken with a grain of salt insofar as Serra deliberately emptied the canonical chivalric novel of all its contents save the two lonely souls at its core,...
- 10/24/2013
- by Vladimir Lukin
- MUBI
by Vadim Rizov
Bruno Dumont's sixth feature Outside Satan (Hors Satan) premiered at Cannes in 2011 but only now arrives for a weeklong New York engagement. That's typical lag time for Dumont, whose divisive, unmarketable movies generally enter theaters slowly but surely a year or so after their premieres. "The deeper meaning and social commentary of [Life of Jesus] has been deflected by focussing on a handful of graphic sex scenes, sadly," an admirer defensively writes on the Wikipedia page for Dumont's 1997 debut, a claim broadly true of all his work. Life of Jesus established the standard components of A Film By Bruno Dumont: non-professional actors standing or walking blankly, committing acts of debased violence (often in muddy rural terrain) with little or no provocation, sometimes indulging in unpleasant consensual intercourse when not raping people, with ambiguously intended, heavily religious overtones.
The use of non-pros who evince little normal human emotion as...
Bruno Dumont's sixth feature Outside Satan (Hors Satan) premiered at Cannes in 2011 but only now arrives for a weeklong New York engagement. That's typical lag time for Dumont, whose divisive, unmarketable movies generally enter theaters slowly but surely a year or so after their premieres. "The deeper meaning and social commentary of [Life of Jesus] has been deflected by focussing on a handful of graphic sex scenes, sadly," an admirer defensively writes on the Wikipedia page for Dumont's 1997 debut, a claim broadly true of all his work. Life of Jesus established the standard components of A Film By Bruno Dumont: non-professional actors standing or walking blankly, committing acts of debased violence (often in muddy rural terrain) with little or no provocation, sometimes indulging in unpleasant consensual intercourse when not raping people, with ambiguously intended, heavily religious overtones.
The use of non-pros who evince little normal human emotion as...
- 1/16/2013
- GreenCine Daily
Entering its second year, the Museum of the Moving Image’s First Look series provides a strong, welcome antidote to the generally anemic cinematic landscape that is January. Its eclectic selection of undistributed features and shorts, programmed by Dennis Lim, Rachael Rakes, and David Schwartz, occasions an invigorating mixture of moods and approaches from established as well as emerging directors. It’s indicative of the series’ dedication to distinctive, often divisive cinematic voices that Bruno Dumont’s decidedly non-crowd-pleasing Hors Satan was chosen as the opening night film nearly two years following its Cannes premiere.
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ,...
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ,...
- 1/11/2013
- by Fernando F. Croce
- MUBI
A follower of Robert Bresson and admirer of the Catholic novelist Georges Bernanos, the maverick French film-maker Bruno Dumont is famous for religious fables that make no concessions to popular audiences and are performed by deliberately inexpressive non-professional actors. His last film, Hadewijch, centred on a novice so zealous that she was thrown out of her convent and fell in with an Islamic terrorist. Hors Satan, his sixth film and perhaps his most compelling, is set in a bleak, thinly populated, hauntingly beautiful corner of Pas de Calais near Boulogne, an area he's worked in several times before. A raggedly dressed ascetic figure, called simply "the guy" (le gars) in the cast list and resembling El Greco's Christ or the Spanish student Pasolini chose to play Christ in his St Matthew's Gospel film, drifts around the locality, saying little and living rough in the sand dunes. He's fed by local...
- 1/6/2013
- by Philip French
- The Guardian - Film News
The wild, coastal landscapes where Bruno Dumont's antihero roams free from retribution create a lucid dream of violence and beauty
It could be the antihero who is supposed to be "outside Satan" in Bruno Dumont's latest film, or it could be the remote, islanded world he inhabits. He and they are quite close to Satan, at all events; it is perhaps truer to say he is outside both God and Satan. Devotees of Dumont's earlier films – particularly his 1999 film Humanity – will instantly recognise the style, the locale, the narrative, the bizarre quasi-realism, in which events take place in a world infinitesimally different from the one we inhabit. As ever, the visionary, radioactive glow is compelling.
We are back in the broad, wild coastal landscapes of northern France, of which Britain's nearest equivalent is the East Anglian fen, a world of largely unsmiling, often unspeaking characters represented by non-professional actors.
It could be the antihero who is supposed to be "outside Satan" in Bruno Dumont's latest film, or it could be the remote, islanded world he inhabits. He and they are quite close to Satan, at all events; it is perhaps truer to say he is outside both God and Satan. Devotees of Dumont's earlier films – particularly his 1999 film Humanity – will instantly recognise the style, the locale, the narrative, the bizarre quasi-realism, in which events take place in a world infinitesimally different from the one we inhabit. As ever, the visionary, radioactive glow is compelling.
We are back in the broad, wild coastal landscapes of northern France, of which Britain's nearest equivalent is the East Anglian fen, a world of largely unsmiling, often unspeaking characters represented by non-professional actors.
- 1/4/2013
- by Peter Bradshaw
- The Guardian - Film News
★★★★☆ Due in no small part to the delayed UK theatrical release of Hadewijch (2009), Hors Satan (Outside Satan, 2011) is the second Bruno Dumont film to hit these shores within the last twelve months - no bad thing, of course. Whilst nowhere near as famous as his numerous awards would suggest, Dumont remains one of Europe's most divisive and challenging directors, with Hors Satan a prime example of his provocative, yet taxing minimal style. Hors Satan focuses on an unnamed, intimidatingly silent reprobate (David Dewaele) who Dumont's elegantly lilting camera quietly stalks through the isolated countryside of a Northern French province.
Read more »...
Read more »...
- 1/2/2013
- by CineVue UK
- CineVue
Our critics' picks of this week's openings, plus your last chance to see and what to book now
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this weekTheatre
The Master and Margarita
Bulgakov's poetic maelstrom is transferred from page to stage by Simon McBurney and Complicite. The devil is abroad in a godless Ussr. Barbican, London EC2 (0845 120 7550), to 7 April.
Anne Boleyn
The Globe goes out on tour with Howard Brenton's delightful and intelligent look at English Protestantism and the woman who furthered its cause. New Alexandra, Birmingham (0844 871 3011), 20-24 March, then touring.
Filumena
Samantha Spiro stars as the canny Neapolitan woman who has been a mistress for 25 years but is determined to be a wife. Michael Attenborough directs this new version of Eduardo de Filippo's lively comedy. Almeida, London N1 (012 7359 4404), to 12 May.
Film
Once Upon a Time in Anatolia (dir. Nuri Bilge Ceylan...
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this weekTheatre
The Master and Margarita
Bulgakov's poetic maelstrom is transferred from page to stage by Simon McBurney and Complicite. The devil is abroad in a godless Ussr. Barbican, London EC2 (0845 120 7550), to 7 April.
Anne Boleyn
The Globe goes out on tour with Howard Brenton's delightful and intelligent look at English Protestantism and the woman who furthered its cause. New Alexandra, Birmingham (0844 871 3011), 20-24 March, then touring.
Filumena
Samantha Spiro stars as the canny Neapolitan woman who has been a mistress for 25 years but is determined to be a wife. Michael Attenborough directs this new version of Eduardo de Filippo's lively comedy. Almeida, London N1 (012 7359 4404), to 12 May.
Film
Once Upon a Time in Anatolia (dir. Nuri Bilge Ceylan...
- 3/18/2012
- The Guardian - Film News
Hadewijch was an obscure 13th-century poet and mystic from the Dutch province of Brabant, whose name is taken by the 20-year-old French novice Céline (the non-professional actress Julie Sokolowski) in this characteristically inert film by the French moviemaker Bruno Dumont, a Robert Bresson follower of a religious bent. Céline is kicked out of her convent for excessive zealotry, which involves going without food and drink, and returns to study theology in Paris where her haut-bourgeois family (her father is in the government) lives in some style on the Ile St-Louis.
Having been rejected by the church she falls in with some young Arabs, who introduce her to a charismatic Muslim religious teacher and political activist. He takes her to witness the persecution of his people in an unnamed Middle Eastern country where she is apparently persuaded to participate in a terrorist action.
It's rather like a version of Louis Malle's Lacombe Lucien,...
Having been rejected by the church she falls in with some young Arabs, who introduce her to a charismatic Muslim religious teacher and political activist. He takes her to witness the persecution of his people in an unnamed Middle Eastern country where she is apparently persuaded to participate in a terrorist action.
It's rather like a version of Louis Malle's Lacombe Lucien,...
- 2/19/2012
- by Philip French
- The Guardian - Film News
The Woman In The Fifth (15)
(Pawel Pawlikowski, 2011, Fra/Pol/UK) Ethan Hawke, Kristin Scott Thomas, Joanna Kulig. 84 mins.
Mysteries abound in this sombre, 1970s-style drama, and so do women. Hawke's emotionally wracked American in Paris is plagued by them – not just the seductress of the title (Scott Thomas) but also his estranged wife and daughter, and the pretty Polish waitress. Plus some dodgy (male) gangster types. If it all seems too good to be true, it is, but this doesn't show its hand till very late on – maybe too late – and maybe too many cards, or too few.
Hadewijch (12A)
(Bruno Dumont, 2009, Fra) Julie Sokolowski, Yassine Salime, Karl Sarafidis. 105 mins.
Boldly drawing connections between (Christian) religious devotion and (Muslim) religious extremism, this radical but naturalistic drama follows a rejected nun whose search for spiritual solace takes her far out of her central Paris comfort zone, and deep into the paradoxes of faith.
(Pawel Pawlikowski, 2011, Fra/Pol/UK) Ethan Hawke, Kristin Scott Thomas, Joanna Kulig. 84 mins.
Mysteries abound in this sombre, 1970s-style drama, and so do women. Hawke's emotionally wracked American in Paris is plagued by them – not just the seductress of the title (Scott Thomas) but also his estranged wife and daughter, and the pretty Polish waitress. Plus some dodgy (male) gangster types. If it all seems too good to be true, it is, but this doesn't show its hand till very late on – maybe too late – and maybe too many cards, or too few.
Hadewijch (12A)
(Bruno Dumont, 2009, Fra) Julie Sokolowski, Yassine Salime, Karl Sarafidis. 105 mins.
Boldly drawing connections between (Christian) religious devotion and (Muslim) religious extremism, this radical but naturalistic drama follows a rejected nun whose search for spiritual solace takes her far out of her central Paris comfort zone, and deep into the paradoxes of faith.
- 2/18/2012
- by Steve Rose
- The Guardian - Film News
After being spoiled last week with a whole plethora of cinematic delights, it’s a slightly more low-key affair this time out.
There’s only a couple of major releases hitting the screens but there’s several smaller independent features which may well prove worthy of seeking out, particularly when you consider the critical reception of what’s on offer.
If you want to check to see if any of these films are playing near you you can visit Find Any Film and they’ll be able to help.
Without further ado, here we go…
Ghost Rider : Spirit of Vengeance in 3D Iframe Embed for Youtube
Nic Cage is back as Johnny Blaze, the former stunt driver turned demonic avenger. Having sold his soul to the devil, Blaze now takes on the mantle of the Ghost Rider, a bounty hunter of the damned. In this follow up to the poorly received 2007 original,...
There’s only a couple of major releases hitting the screens but there’s several smaller independent features which may well prove worthy of seeking out, particularly when you consider the critical reception of what’s on offer.
If you want to check to see if any of these films are playing near you you can visit Find Any Film and they’ll be able to help.
Without further ado, here we go…
Ghost Rider : Spirit of Vengeance in 3D Iframe Embed for Youtube
Nic Cage is back as Johnny Blaze, the former stunt driver turned demonic avenger. Having sold his soul to the devil, Blaze now takes on the mantle of the Ghost Rider, a bounty hunter of the damned. In this follow up to the poorly received 2007 original,...
- 2/17/2012
- by Rob Keeling
- HeyUGuys.co.uk
Bruno Dumont is back on form with this mysterious and unsettling film about a fiercely devout twentysomething
The disturbing, violent, neo-Bressonian work of the French film-maker Bruno Dumont has waxed and waned in potency over the years: his Life of Jesus (1997) and the bizarrely compelling Humanity (1999) established his vision. There is a social-realist aesthetic, and a stark, islanded beauty and bleakness in the areas of northern France where Dumont prefers to film; there is an enigmatic mysticism amid explicit brutality, and a distinctive use of non-professional actors encouraged to maintain an unsmiling blankness and transcendental ordinariness. (To the astonishment of some, Emmanuel Schotté won the best actor prize at Cannes for a deadpan, untutored, almost childlike performance as the troubled police officer in Humanity, his single screen credit to this day. He was certainly an eerily powerful presence.)
Dumont has begun to repeat himself lately, but Hadewijch, made three years...
The disturbing, violent, neo-Bressonian work of the French film-maker Bruno Dumont has waxed and waned in potency over the years: his Life of Jesus (1997) and the bizarrely compelling Humanity (1999) established his vision. There is a social-realist aesthetic, and a stark, islanded beauty and bleakness in the areas of northern France where Dumont prefers to film; there is an enigmatic mysticism amid explicit brutality, and a distinctive use of non-professional actors encouraged to maintain an unsmiling blankness and transcendental ordinariness. (To the astonishment of some, Emmanuel Schotté won the best actor prize at Cannes for a deadpan, untutored, almost childlike performance as the troubled police officer in Humanity, his single screen credit to this day. He was certainly an eerily powerful presence.)
Dumont has begun to repeat himself lately, but Hadewijch, made three years...
- 2/17/2012
- by Peter Bradshaw
- The Guardian - Film News
Fans of France’s greatest living filmmaker, Bruno Dumont, will be happy to know his previously unreleased film Hadewijch is being released by New Wave Films in February. That’s not all! Dumont’s new picture Hors Satan is also being put out by New Wave in March/April time, too. In preparation for this great event we’ve tracked [...]...
- 1/3/2012
- by Martyn Conterio
[1] Year-end top 10 lists can get pretty mind-numbing, as you see the same titles crop up again and again and again... and again, but filmmaker John Waters has set himself apart by both by posting his a bit early and by, oh yeah, being John Waters. You wouldn't seriously expect the man who gave us Pink Flamingos, Female Trouble, and Hairspray to just name War Horse and The Artist like everrrrrrryone else, would you? No, Waters' tastes tend toward more unconventional choices, like Kaboom, Uncle Boonmee Who Can Recall His Past Lives, and Justin Bieber: Never Say Never (seriously), with Pedro Almodovar's The Skin I Live In topping the list. Read the top 10 after the jump. Waters published his list in Artforum [2] (via First Showing [3]), along with brief explanations for his picks: 1. The Skin I Live In (Pedro Almodóvar) 2. Mildred Pierce (Todd Haynes) 3. Justin Bieber: Never Say Never (Jon M. Chu...
- 12/10/2011
- by Angie Han
- Slash Film
If you were to ask a cinephile who the best working actress is, at least half of them would bestow that honor upon Juliette Binoche. The reason for that answer is kind of a complicated one, but, to put it more simply, you don’t work with Godard and Kiarostami in the same lifetime if you don’t have a tremendous amount of skill in you. Despite this, she isn’t exactly a Daniel Day-Lewis type; Binoche has several projects in some state of development at the moment, with the next probably being David Cronenberg‘s already-shot Cosmopolis.
As Cineuropa (via ThePlaylist) reports, she’ll soon be working with Hadewijch helmer Bruno Dumont on the semi-biopic La Creatrice. 3B Productions and Arte France Cinéma are behind the film, which tells the true story of Camille Claudel, a woman who, in 1914, “was committed by her family to a mental asylum in...
As Cineuropa (via ThePlaylist) reports, she’ll soon be working with Hadewijch helmer Bruno Dumont on the semi-biopic La Creatrice. 3B Productions and Arte France Cinéma are behind the film, which tells the true story of Camille Claudel, a woman who, in 1914, “was committed by her family to a mental asylum in...
- 11/27/2011
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Updated through 5/19.
"French director Bruno Dumont may not make religious films as such — perhaps it’s truer to say, theological ones." Jonathan Romney for Screen: "Certainly, he makes films in which the big questions are invoked, but in ways less explicitly religious than obliquely metaphysical. In his sixth feature Outside Satan (Hors Satan), he seems to present a very ambivalent Jesus figure. Yet, until he pulls his big dramatic twist at the end, Dumont's drama is grounded in everyday concrete reality. Lead actors who initially seem uncommunicative, even unappealing, prove idiosyncratically compelling in a film that sees Dumont stripping his style to the bones, with echoes of his 1997 debut The Life of Jesus."
Rob Nelson for Variety: "Maddening, pretentious, hypnotic and transcendent in roughly equal measure, Dumont's minimalist study of an oddball poacher and the farm girl who keeps him company contains only a dozen 'dramatic' events, but they all register indelibly,...
"French director Bruno Dumont may not make religious films as such — perhaps it’s truer to say, theological ones." Jonathan Romney for Screen: "Certainly, he makes films in which the big questions are invoked, but in ways less explicitly religious than obliquely metaphysical. In his sixth feature Outside Satan (Hors Satan), he seems to present a very ambivalent Jesus figure. Yet, until he pulls his big dramatic twist at the end, Dumont's drama is grounded in everyday concrete reality. Lead actors who initially seem uncommunicative, even unappealing, prove idiosyncratically compelling in a film that sees Dumont stripping his style to the bones, with echoes of his 1997 debut The Life of Jesus."
Rob Nelson for Variety: "Maddening, pretentious, hypnotic and transcendent in roughly equal measure, Dumont's minimalist study of an oddball poacher and the farm girl who keeps him company contains only a dozen 'dramatic' events, but they all register indelibly,...
- 5/19/2011
- MUBI
If one contemplates the history of political cinema, it would appear that the greatest political films were made when a discursive framework – usually Marxist or liberal-democratic – was readily available. Rarely have political films not assumed ‘complete understanding’ of a political subject and this understanding has been provided by accepted ideological viewpoints. Instead of being tentative in their approach to their subjects, political films have been categorical – because of their confidence in their moral/ political positions. To illustrate, the anti-colonialism of Gilo Pontecorvo’s The Battle of Algiers (1966) which is post-Marxist and perhaps owes to Frantz Fanon, could not have been opposed. Costa Gavras’ Z (1969), which is set in an unnamed country (perhaps Greece) under a military junta, is confident of the universality of liberal-democratic values. Political films made after the end of Communism, works like The Lives of Others (2006), plead for freedom from tyranny and uphold similar liberal-democratic values which,...
- 3/8/2011
- by MK Raghvendra
- DearCinema.com
IFC's Hadewijch features starring debut for Julie Sokolowski. In support of indie film, we are pleased to offer the trailer for the drama in standard and high definition as well as the poster and images from the film which opened on December 24th in limited venues. The film focuses on Céline vel Hadewijch (played by newcomer Julie Sokolowski), a novice nun who shocks the mother superior of her convent with her ecstatic blind faith, and is then kicked out of the order. Hadewijch becomes Celine again, a young Parisian girl and daughter of a diplomat, and is led down dangerous paths in the real world, balancing between grace and madness in her rage and her passionate love for God...
- 1/4/2011
- Upcoming-Movies.com
IFC's Hadewijch features starring debut for Julie Sokolowski. In support of indie film, we are pleased to offer the trailer for the drama in standard and high definition as well as the poster and images from the film which opened on December 24th in limited venues. The film focuses on Céline vel Hadewijch (played by newcomer Julie Sokolowski), a novice nun who shocks the mother superior of her convent with her ecstatic blind faith, and is then kicked out of the order. Hadewijch becomes Celine again, a young Parisian girl and daughter of a diplomat, and is led down dangerous paths in the real world, balancing between grace and madness in her rage and her passionate love for God...
- 1/4/2011
- Upcoming-Movies.com
A former philosophy professor, 52-year-old writer-director Bruno Dumont got his start making commercial films in the ’80s, eventually penning a novel that served as the basis for his extraordinary 1996 debut La Vie de Jesus. Filmed in the tiny provincial hamlet of Bailleul, France, where Dumont grew up, this story of a listless gang of moped-riding teens has nothing at all to do with the Gospels: it is an oblique title for a movie that begins and ends with a death, and whose epileptic protagonist is an odd-looking, hauntingly inexpressive adolescent. Humanité, which won the Grand Prix at the 1999 Cannes Film Festival, mined a similar Bressonian aesthetic, scrutinizing an introverted, socially inept policeman who empathizes with a litter of pigs and accused criminals. Unlike his other films, which took years to complete, Twentynine Palms (2003) was conceived on the fly while Dumont was scouting locations in California, and the emphasis on mood...
- 1/3/2011
- by Damon Smith
- Filmmaker Magazine - Blog
December 24-26
(Note: Some figures are reflecting adjusted grosses since they had an earlier release date that is included)
What a variety for the 2010 holiday crowd this year. Among the box office hits were movies of fantasy, true stories, sequels, remakes, and re-imaginings-oh my! The three films in the Top 10 that were bumped from last week.s listing were How Do You Know, Harry Potter And The Deathy Hallows Part 1, And Unstoppable, and 3 new releases moved into the empty slots.
Little Fockers, the third installment in an extremely lucrative franchise about the family Universal built, was released on December 22, 2010 and has a total gross of $45,083,800 in 3,536 theaters averaging $8,720 each. If these numbers keep up, this trilogy has its. eyes on track to make up a billion dollar trio for the studio.
The remake of True Grit by the Coen Brothers came galloping in with strong numbers in second place. Paramount...
(Note: Some figures are reflecting adjusted grosses since they had an earlier release date that is included)
What a variety for the 2010 holiday crowd this year. Among the box office hits were movies of fantasy, true stories, sequels, remakes, and re-imaginings-oh my! The three films in the Top 10 that were bumped from last week.s listing were How Do You Know, Harry Potter And The Deathy Hallows Part 1, And Unstoppable, and 3 new releases moved into the empty slots.
Little Fockers, the third installment in an extremely lucrative franchise about the family Universal built, was released on December 22, 2010 and has a total gross of $45,083,800 in 3,536 theaters averaging $8,720 each. If these numbers keep up, this trilogy has its. eyes on track to make up a billion dollar trio for the studio.
The remake of True Grit by the Coen Brothers came galloping in with strong numbers in second place. Paramount...
- 12/28/2010
- by Allison Ritcher
- WeAreMovieGeeks.com
Un poison violent (translates into Love Like Poison) is Jean Vigo prize wining screenplay - your typical French family drama big on dialogue, not interested in style. Helmer Katell Quillévéré presented her directorial debut in the Quinzaine last night and I couldn't help think back to last year's Bruno Dumont film Hadewijch - both films take certain aspects of religion and cross it with female adolescence. - Un poison violent (translates into Love Like Poison) is Jean Vigo prize wining screenplay - your typical French family drama big on dialogue, not interested in style. Helmer Katell Quillévéré presented her directorial debut in the Quinzaine last night and I couldn't help think back to last year's Bruno Dumont film Hadewijch - both films take certain aspects of religion and cross it with female adolescence. Apologies for the lack of video clarity in the first portion,...
- 5/15/2010
- IONCINEMA.com
Un poison violent (translates into Love Like Poison) is Jean Vigo prize wining screenplay - your typical French family drama big on dialogue, not interested in style. Helmer Katell Quillévéré presented her directorial debut in the Quinzaine last night and I couldn't help think back to last year's Bruno Dumont film Hadewijch - both films take certain aspects of religion and cross it with female adolescence. Apologies for the lack of video clarity in the first portion, but if you stick around you'll see some familiar faces among the cast - including Stefano Cassetti of Roberto Succo fame. Clara Augarde the red head teen and film's centerpiece, does a formidable job.
- 5/15/2010
- IONCINEMA.com
Chicago – We have now reached the fourth and final week of the 13th Annual European Union Film Festival at the Siskel Film Center, and what a fantastic festival it has been. From international sensations to critically acclaimed gems rarely available in the Us, the EU annual line-up is consistently one of the finest offered by any festival in the Windy City.
The first three weeks were loaded with highlights that just seemed to get better as the days progressed. Some of the selections, such as Austria’s diabolical delight “The Bone Man” and the Netherlands’ beguiling documentary “Rembrandt’s J’Accuse,” were more entertaining than the majority of mainstream Hollywood releases. Both France and Italy had several exceptional entries this year, including Amos Gitai’s spellbinding “Disengagement” and Luca Guadagnino’s ravishing “I Am Love.” Read more here, here and here.
The final week is somewhat of a letdown in comparison,...
The first three weeks were loaded with highlights that just seemed to get better as the days progressed. Some of the selections, such as Austria’s diabolical delight “The Bone Man” and the Netherlands’ beguiling documentary “Rembrandt’s J’Accuse,” were more entertaining than the majority of mainstream Hollywood releases. Both France and Italy had several exceptional entries this year, including Amos Gitai’s spellbinding “Disengagement” and Luca Guadagnino’s ravishing “I Am Love.” Read more here, here and here.
The final week is somewhat of a letdown in comparison,...
- 3/25/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
After a moment of reprieve in 2009's Hadewijch, it looks as if Bruno Dumont will was again explore the nastier side of the human species with a film that will be featured in the backdrop of the sand dunes of Pas de Calais, France -- which appears to be the northern region above Normandy. - After a moment of reprieve in 2009's Hadewijch, it looks as if Bruno Dumont will was again explore the nastier side of the human species with a film that will be featured in the backdrop of the sand dunes of Pas de Calais, France -- which appears to be the northern region above Normandy. L'Empire, Dumont's sixth film, sees a strange man nestled in near the river and in marshes, where he poaches, prays, and lights fires. He is close to a farmer’s daughter who looks after him and feeds him. By murdering the girl’s father,...
- 3/9/2010
- IONCINEMA.com
Repertory theaters on the coasts are truly offering a window onto the world this spring, with Jia Zhangke and Bong Joon-ho retrospectives, as well as New French Cinema in New York, "Freebie and the Bean," "Killer Klowns from Outer Space" and Jason Reitman's favorite films invade Los Angeles, and the Alamo Drafthouse in Austin is offering a fond farewell to the video cassette. But consider this a hello to seeing classics, oddities and rarities on the big screen over the next few months.
Cities: [New York] [Los Angeles] [Austin] More Spring Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
New York
92YTribeca
Is there a more energetic way to start the spring than with a screening of Russ Meyer's "Faster Pussycat! Kill! Kill!" (Feb. 20, with editors Rumsey Taylor, Leo Goldsmith and Jenny Jediny in attendance)? Perhaps not, but it's only the start of an exciting spring season at the 92YTribeca Screening Room, which will present several special events over the next few months.
Cities: [New York] [Los Angeles] [Austin] More Spring Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
New York
92YTribeca
Is there a more energetic way to start the spring than with a screening of Russ Meyer's "Faster Pussycat! Kill! Kill!" (Feb. 20, with editors Rumsey Taylor, Leo Goldsmith and Jenny Jediny in attendance)? Perhaps not, but it's only the start of an exciting spring season at the 92YTribeca Screening Room, which will present several special events over the next few months.
- 2/20/2010
- by Stephen Saito
- ifc.com
Those compiling their best of the year lists would do well to consult the roll-call of gong-winners handed out by an august band of international critics
Any perspicacious film festival-goer or festival-watcher will have noticed that one of the prizes awarded at most festivals, in addition to the Golden Palms, Golden Lions or Golden Leopards etc, is the Fipresci (Federation International de la Presse Cinematographic) – aka the international film critics' award. In principle, this should be the most prestigious and sought-after prize of all, because the juries are made up of professional film critics (usually five, each from a different country) who are paid to tell the public what is good or bad and why.
Unfortunately, the Fipresci prize does not carry with it any money but, in theory, it does help the film gain a distributor. However, on one occasion, I remember that a director, who had just won the Fipresci prize,...
Any perspicacious film festival-goer or festival-watcher will have noticed that one of the prizes awarded at most festivals, in addition to the Golden Palms, Golden Lions or Golden Leopards etc, is the Fipresci (Federation International de la Presse Cinematographic) – aka the international film critics' award. In principle, this should be the most prestigious and sought-after prize of all, because the juries are made up of professional film critics (usually five, each from a different country) who are paid to tell the public what is good or bad and why.
Unfortunately, the Fipresci prize does not carry with it any money but, in theory, it does help the film gain a distributor. However, on one occasion, I remember that a director, who had just won the Fipresci prize,...
- 12/24/2009
- by Ronald Bergan
- The Guardian - Film News
Similar to the Golden Globes because it is a foreign group of film journalists who conduct the voting (though I'm sure they have no mandate to prefer films loaded in stars), this year's the 15th Lumiere Awards has a pair of films in the top tier that recently that duked it out for the Louis Delluc award. Philippe Lioret's Welcome (which just got picked up by Film Movement this week) and Jacques Audiard's A Prophet (a Spc release next February) received five and four noms respectively. - Similar to the Golden Globes because it is a foreign group of film journalists who conduct the voting (though I'm sure they have no mandate to prefer films loaded in stars), this year's the 15th Lumière Awards has a pair of films in the top tier that recently that duked it out for the Louis Delluc award. Philippe Lioret...
- 12/18/2009
- IONCINEMA.com
With only Alain Resnais’ Les Herbes Folles and Bruno Dumont's Hadewijch as possible upset win scenario's, Jacques Audiard’s A Prophet was the logical winner for France’s Louis Delluc prize of best French film of the year. - With only Alain Resnais’ Les Herbes Folles and Bruno Dumont's Hadewijch as possible upset win scenario's, Jacques Audiard’s A Prophet was the logical winner for France’s Louis Delluc prize of best French film of the year. Other nominess in the category included: Xavier Giannoli's A L’Origine, Christophe Honore’s Non Ma Fille Tu N’Iras Pas Danser, Claude and Nathan Miller’s Je Suis Heureux Que Ma Mere Soit Vivante, Philippe Lioret’s Welcome and Alain Cavalier's Irene. A Prophet will probably duke it out versus The White Ribbon this year at...
- 12/13/2009
- IONCINEMA.com
I guess we're moving forward in time with the whole "I am a false prophet. God is a superstition" discourse. Paul Thomas Anderson must have liked Philip Seymour Hoffman take on the priesthood in Doubt, as he is putting his faith in him. Universal studios would be doing the same with a 35 million dollar faith based, period drama probably not of the Kirk Cameron kind, and despite the similarities in choice of year circa 1952, probably not the Jimmy Jones kind either. - I guess we're moving forward in time with the whole "I am a false prophet. God is a superstition" discourse. Paul Thomas Anderson must have liked Philip Seymour Hoffman take on the priesthood in Doubt, as he is putting his faith in him. Universal studios would be doing the same with a 35 million dollar faith based, period drama probably not of the Kirk Cameron kind, and despite the...
- 12/13/2009
- IONCINEMA.com
This isn't news per se, just wanted to point out the French poster for Bruno Dumont's Hadewijch - which happened to be my last film screened at Tiff, and for those who have the opportunity, I would suggest a great double bill with Jessica Hausner' Lourdes in the mix. - This isn't news per se, just wanted to point out the French poster for Bruno Dumont's Hadewijch - which happened to be my last film screened at Tiff, and for those who have the opportunity, I would suggest a great double bill with Jessica Hausner' Lourdes in the mix. Lourdes takes a very low-key comedic approach to questions of faith with Sylvie Testud playing a demoralized skeptic - you can tell by the look in her eyes, one of the only body movements she can control, that she views religious faith as something abstract and solely for the weak minded.
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
If my last public screening at Tiff was any indication, Bruno Dumont's Fipresci prize-winning film will be a difficult, less obvious film to market. I'm somewhat surprised that out of all the films that have remained unbought from Toronto, that it's Hadewijch that has found a home. - If my last public screening at Tiff was any indication, Bruno Dumont's Fipresci prize-winning film will be a difficult, less obvious film to market. I'm somewhat surprised that out of all the films that have remained unbought from Toronto, that it's Hadewijch that has found a home. IFC Films will have their work cut out for them - the film's heavy discourse on how religion can bring out the best and worst in people. IFC plans a 2010 release. The film is about a religious novice (Julie Sokolowski) whose ecstatic, blind faith leads to her expulsion from a convent.
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
Have Joel and Ethan Coen followed up No Country for Old Men with another Oscar winner? A clear favorite (I've got my hand up) among the film critics and bloggers polled by IndieWIRE, A Serious Man might have a big and bright future ahead of it and as Eugene points out, "the Coens latest took top honors as Toronto’s best narrative film, finding a place on nearly every single ballot. - Have Joel and Ethan Coen followed up No Country for Old Men with another Oscar winner? A clear favorite (I've got my hand up) among the film critics and bloggers polled by IndieWIRE, A Serious Man might have a big and bright future ahead of it and as Eugene points out, "the Coens latest took top honors as Toronto’s best narrative film, finding a place on nearly every single ballot. Other category winners include: Erik Gandini...
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
Above: Pema Tsedan’s The Search.
Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can now safely cast a selected glance back at this year's London International Film Festival high and low lights. As is inevitable with a festival round up, we look for themes, or—with want for a better word—tropes to associate an otherwise geopolitical program. Fortunately some convenient ones did arise.
Most compelling of them was, perhaps, the enduring topic: faith. Or as Jonathan Romney quipped in a pre-screening introduction: "this year was a good festival for nuns." Of course, he was referring to both Bruno Dumont and Eugène Green’s Hadewijch, and The Portuguese Nun, respectively—though Jessica Hausner’s Lourdes also fits this broad description.
Green’s enjoyable latest “transubstantiates” Lisbon into a site of spiritual reckoning, steered...
Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can now safely cast a selected glance back at this year's London International Film Festival high and low lights. As is inevitable with a festival round up, we look for themes, or—with want for a better word—tropes to associate an otherwise geopolitical program. Fortunately some convenient ones did arise.
Most compelling of them was, perhaps, the enduring topic: faith. Or as Jonathan Romney quipped in a pre-screening introduction: "this year was a good festival for nuns." Of course, he was referring to both Bruno Dumont and Eugène Green’s Hadewijch, and The Portuguese Nun, respectively—though Jessica Hausner’s Lourdes also fits this broad description.
Green’s enjoyable latest “transubstantiates” Lisbon into a site of spiritual reckoning, steered...
- 11/7/2009
- MUBI
Cologne, Germany -- Samuel Moaz's Venice Film Festival winner "Lebanon" added another trophy to its crowded mantelpiece, on Sunday winning the audience award at the Cologne/Bonn KunstFilmBiennale festival.
The anti-war drama, set entirely in an Israeli tank during the 1982 Lebanon war, was co-produced by Israeli production firms Metro Communications and Paralite, Cologne-based Ariel Films and France's Arsam International.
Russian drama "Wolfy," won the festival's international competition. The mother-daughter tale from director Vasilij Sigarev is slowly building its festival cred, having won best picture prizes at last month's Zurich Film Festival and the Open Russian Film Festival earlier this year. Honorable mention went to Bruno Dumont's "Hadewijch," the story of an upper-class Parisian girl who gets involved with Muslim Arabs from the rough Banlieue ghettos.
This was the first year narrative films were accepted as part of the official lineup at the KunstFilmBiennale, which traditionally focuses on experimental art cinema.
The anti-war drama, set entirely in an Israeli tank during the 1982 Lebanon war, was co-produced by Israeli production firms Metro Communications and Paralite, Cologne-based Ariel Films and France's Arsam International.
Russian drama "Wolfy," won the festival's international competition. The mother-daughter tale from director Vasilij Sigarev is slowly building its festival cred, having won best picture prizes at last month's Zurich Film Festival and the Open Russian Film Festival earlier this year. Honorable mention went to Bruno Dumont's "Hadewijch," the story of an upper-class Parisian girl who gets involved with Muslim Arabs from the rough Banlieue ghettos.
This was the first year narrative films were accepted as part of the official lineup at the KunstFilmBiennale, which traditionally focuses on experimental art cinema.
- 11/2/2009
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
Dominic Cooper kisses director Lone Scherfig at the premiere of An Education during the Times BFI 53rd London Film Festival at the Vue West End on October 20. Director Bruno Dumont and actress Julie Sokolowski arrive for the premiere of the widely praised religious-fanaticism drama Hadewijch, winner of the International Film Critics’ award at the 2009 Toronto Film Festival, during the Times BFI 53rd London Film Festival at the Vue West End on October 20. Bruno Dumont Photos: Ian Gavan/Getty Images...
- 10/26/2009
- by Joan Lister
- Alt Film Guide
Dave here, with the first of this week's daily reports from the London Film Festival, which is due to hit the unsuspecting public on Wednesday, but things have already brightened up for me now that I've moved into a rather grotty hotel. In a manner of speaking.
The first real success I've seen, A Single Man is a sensual, poetic, and really quite ravishing drama from fashion designer Tom Ford. It's a beautifully designed, stylish, effortlessly attractive film, and Ford's cinema-adjusted eye has a particular knack for the bodily, as you might expect - but all the stylistic flourishes tie into his own adaptation of Christopher Isherwood's novel with bountiful meaning. Particularly notable is his use of colour - dull and grey reflection of George's (Colin Firth) grief and depression frequently blossoms into sumptuous saturated colour, spurred by lust, laughter, or sometimes just the infectious spirit of youth. Slow-motion...
The first real success I've seen, A Single Man is a sensual, poetic, and really quite ravishing drama from fashion designer Tom Ford. It's a beautifully designed, stylish, effortlessly attractive film, and Ford's cinema-adjusted eye has a particular knack for the bodily, as you might expect - but all the stylistic flourishes tie into his own adaptation of Christopher Isherwood's novel with bountiful meaning. Particularly notable is his use of colour - dull and grey reflection of George's (Colin Firth) grief and depression frequently blossoms into sumptuous saturated colour, spurred by lust, laughter, or sometimes just the infectious spirit of youth. Slow-motion...
- 10/12/2009
- by Dave
- FilmExperience
Deals. Sony Pictures Classics acquired The Last Station hot off its debut at the Telluride Film Festival and plans a quick turnaround, releasing it before the end of the year and pushing its stars Helen Mirren, Christopher Plummer, and James McAvoy for awards consideration, according to Thompson on Hollywood. Described as a "fictionalized chronicle of Tolstoy's last days" by our own Eugene Novikov, the film's main problem is that it 'madly equivocates' on whether Tolstoy, portrayed by Plummer is, essentially, "a crackpot."
Historical drama John Rabe will get a theatrical outing next spring courtesy of Strand Releasing, according to indieWIRE. Based on the diaries of a German businessman, the film tells about his role in saving the lives of 200,000 people during the Japanese invasion of Nanking, China in 1937. indieWIRE also reports that IFC Films picked up Bruno Dumont's religiously-inclined Hadewijch and Lorber Films will distribute Nobody's Perfect, a German...
Historical drama John Rabe will get a theatrical outing next spring courtesy of Strand Releasing, according to indieWIRE. Based on the diaries of a German businessman, the film tells about his role in saving the lives of 200,000 people during the Japanese invasion of Nanking, China in 1937. indieWIRE also reports that IFC Films picked up Bruno Dumont's religiously-inclined Hadewijch and Lorber Films will distribute Nobody's Perfect, a German...
- 10/8/2009
- by Peter Martin
- Cinematical
IFC Films has acquired North American rights to Bruno Dumont's "Hadewijch." The film, which stars Julie Sokolmowksi as a religious extremist, will have its U.S. premiere Sunday at the New York Film Festival.
The film was produced by Rachid Bouchareb, Jean Brehat, Muriel Merlin and Dirk Wilutsky.
At the Toronto International Film Festival, where it had its world premiere, it won the Fipresci International Critics Prize.
IFC will release "Hadewijch" next year via its IFC in Theaters platform which offers movies as VOD offerings the same day they premiere in theaters.
The deal was negotiated by Lizzie Nastro on behalf of IFC with Yoann Ubermulhin of Pyramide International.
The film was produced by Rachid Bouchareb, Jean Brehat, Muriel Merlin and Dirk Wilutsky.
At the Toronto International Film Festival, where it had its world premiere, it won the Fipresci International Critics Prize.
IFC will release "Hadewijch" next year via its IFC in Theaters platform which offers movies as VOD offerings the same day they premiere in theaters.
The deal was negotiated by Lizzie Nastro on behalf of IFC with Yoann Ubermulhin of Pyramide International.
- 10/2/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Bruno Dumont’s prize-winning film Hadewijch has been picked up by IFC Films.
Landing North American rights, IFC will release the film in both theaters and on Video on Demand (VOD) in 2010. The French-language film centers on a young girl whose religious extremist views bring shocking consequences it her life.
Dumont’s film won the critics’ Fipresci prize at this year’s Toronto Film Festival and will make it’s American debut at the New York Film Fesitval.
Hadewijch stars Julie Sokolowsk with a screenplay penned by Dumont. Rachid Bouchareb, Jean Brehat, Muriel Merlin and Dirk Wilutsky produced. “With Hadewijch, he’s [Dumont] made his most accessible film that is going to be a real topic of discussion,” said IFC Entertainment head Jonathan Sehring.
Related posts:Scary ‘Supermax’ picked up by Sony PicturesAmerican remake of ‘The Orphanage’ lands its directorJim Carrey gay movie “too risque” for American audiences...
Landing North American rights, IFC will release the film in both theaters and on Video on Demand (VOD) in 2010. The French-language film centers on a young girl whose religious extremist views bring shocking consequences it her life.
Dumont’s film won the critics’ Fipresci prize at this year’s Toronto Film Festival and will make it’s American debut at the New York Film Fesitval.
Hadewijch stars Julie Sokolowsk with a screenplay penned by Dumont. Rachid Bouchareb, Jean Brehat, Muriel Merlin and Dirk Wilutsky produced. “With Hadewijch, he’s [Dumont] made his most accessible film that is going to be a real topic of discussion,” said IFC Entertainment head Jonathan Sehring.
Related posts:Scary ‘Supermax’ picked up by Sony PicturesAmerican remake of ‘The Orphanage’ lands its directorJim Carrey gay movie “too risque” for American audiences...
- 10/2/2009
- by Erik Buckman
- ReelLoop.com
North American rights to director Bruno Dumont’s 2009 Toronto International Film Festival feature, “Hadewijch” have been picked up by IFC Films. The film, about a religious exremist’s absolute love of God and the consequences it brings, will have its U.S. debut this Sunday at the New York Film Festival, and recently screened in competition at the San Sebastian Film Festival. IFC Films’ Lizzie Nastro negotiated the deal with Yoann Ubermulhin of …...
- 10/1/2009
- Indiewire
The 47th Annual New York Film Festival kicks off tomorrow night, and indieWIRE be bringing you two weeks worth of coverage from the scene. In the meantime, we’ve assembled this list of reviews of films screening in the festival: Lars Von Trier’s “Antichrist” Pedro Almodovar’s “Broken Embraces” Bruno Dumont’s “Hadewijch” Todd Solondz’s “Life During Wartime” Corneliu Prumboiu’s “Police, Adjective” Lee Daniels’ “Precious” Harmony Korine’s “Trash Humpers” Michael Haneke’s “The White Ribbon”...
- 9/24/2009
- Indiewire
"Precious," the story of a teenage girl who seems to have everything going against her, won the coveted Audience Award here Saturday at the Toronto International Film Festival. Toronto has no jury awards, but last January at Sundance, "Precious" swept both the jury award and the Audience Award. Both festivals invite audiences to vote as they leave after a screening, and use systems to correct for audience and theater sizes.
Gabby Sidibe as "Precious"
This could not be a better omen for the Oscar chances of "Precious;" it is all but certain to win a place on the expanded list of the Academy's 10 "best picture" nominees. Its star, Gabourey (Gabby) Sidibe, is also a real possibility for an acting nomination.
It is perhaps an omen that last year's Audience Award winner at Toronto was "Slumdog Millionaire," which went on to win the Oscar as Best Picture. That would be a...
Gabby Sidibe as "Precious"
This could not be a better omen for the Oscar chances of "Precious;" it is all but certain to win a place on the expanded list of the Academy's 10 "best picture" nominees. Its star, Gabourey (Gabby) Sidibe, is also a real possibility for an acting nomination.
It is perhaps an omen that last year's Audience Award winner at Toronto was "Slumdog Millionaire," which went on to win the Oscar as Best Picture. That would be a...
- 9/21/2009
- by Roger Ebert
- blogs.suntimes.com/ebert
Catch up with indieWIRE‘s first batch of reviews from the Toronto International Film Festival: Werner Herzog’s “Bad Lieutenant: Port of Call New Orleans” Atom Egoyan’s “Chloe” Michael Moore’s “Capitalism: A Love Story” Atom Egoyan’s “Chloe” Lu Huan’s “City of Life and Death” Jon Amiel’s “Creation” Mia Hansen-Love’s “The Father of My Children” Bruno Dumont’s “Hadewijch” Xavier Dolan’s “I Killed My Mother” Steven Soderbergh’s “The Informant!” Tim Blake Nelson’s “Leaves of Grass” …...
- 9/21/2009
- Indiewire
The 34th Annual Toronto International Film Festival has wrapped up with the announcement of its awards winners. On Saturday, September 19 at the Awards Reception at the Intercontinental on Front Street, "Precious: Based on the Novel Push by Sapphire" was unveiled to be the title holder of 2009 Cadillac People's Choice Award.
The gritty tale about an abused teenage girl in Harlem got the most votes from ordinary moviegoers in Toronto and beat out first runner-up Bruce Beresford's "Mao's Last Dancer", and second runner-up Jean-Pierre Jeunet's "Micmacs". Having also won the audience and jury awards for best picture from this year's Sundance Film Festival, it became the only film ever to win the audience prizes at both festivals.
"The audience award holds such an important meaning," director Lee Daniels said in a statement from the San Sebastian Film Festival, where the movie was screened on Sunday evening, September 20. "I made...
The gritty tale about an abused teenage girl in Harlem got the most votes from ordinary moviegoers in Toronto and beat out first runner-up Bruce Beresford's "Mao's Last Dancer", and second runner-up Jean-Pierre Jeunet's "Micmacs". Having also won the audience and jury awards for best picture from this year's Sundance Film Festival, it became the only film ever to win the audience prizes at both festivals.
"The audience award holds such an important meaning," director Lee Daniels said in a statement from the San Sebastian Film Festival, where the movie was screened on Sunday evening, September 20. "I made...
- 9/21/2009
- by AceShowbiz.com
- Aceshowbiz
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.