Tl;Dr:
Paul McCartney felt The Beatles’ “Happiness Is a Warm Gun” was “very Lennon.”The song hit differently for him after John’s death.George Harrison praised the song during one of its many, many studio takes. Paul McCartney | Michael Ochs Archives / Stringer
Paul McCartney met with Linda McCartney the same night as the recording of The Beatles‘ “Happiness Is a Warm Gun.” Subsequently, he said he couldn’t listen to the song the same way after John Lennon’s tragic death. Giles Martin, the son of Beatles producer George Martin, gave fans some interesting insight into the track.
Linda McCartney was shocked by Paul McCartney’s house after attending the making of The Beatles’ ‘Happiness Is a Warm Gun’
In the 1997 book Paul McCartney: Many Years From Now, Paul discussed one of the early times he met Linda. “I said, ‘Come on over, then,’ and she arrived the...
Paul McCartney felt The Beatles’ “Happiness Is a Warm Gun” was “very Lennon.”The song hit differently for him after John’s death.George Harrison praised the song during one of its many, many studio takes. Paul McCartney | Michael Ochs Archives / Stringer
Paul McCartney met with Linda McCartney the same night as the recording of The Beatles‘ “Happiness Is a Warm Gun.” Subsequently, he said he couldn’t listen to the song the same way after John Lennon’s tragic death. Giles Martin, the son of Beatles producer George Martin, gave fans some interesting insight into the track.
Linda McCartney was shocked by Paul McCartney’s house after attending the making of The Beatles’ ‘Happiness Is a Warm Gun’
In the 1997 book Paul McCartney: Many Years From Now, Paul discussed one of the early times he met Linda. “I said, ‘Come on over, then,’ and she arrived the...
- 1/27/2023
- by Matthew Trzcinski
- Showbiz Cheat Sheet
Luke Combs continues to survey his journey through adulthood with the upcoming album Gettin’ Old, a companion recording to 2022’s Growin’ Up. The CMA Entertainer of the Year marked the announcement with a new single combining the two album titles, “Growin’ Up and Gettin’ Old,” that arrived on Friday.
A midtempo tune that’s Combs’ signature combination of gruff and tender, “Growin’ Up and Gettin’ Old” finds him reflecting on how far he’s come and how he’s still got a little wild streak he can summon if the moment arises.
A midtempo tune that’s Combs’ signature combination of gruff and tender, “Growin’ Up and Gettin’ Old” finds him reflecting on how far he’s come and how he’s still got a little wild streak he can summon if the moment arises.
- 1/27/2023
- by Jon Freeman
- Rollingstone.com
The 65th Annual Grammy Awards are set to be telecast live, February 5, on CBS, with Beyonce leading the way with nine nominations for her critically acclaimed album, “Renaissance.” While many consider Queen B the clear frontrunner to take the evening’s top prize, Album of the Year, it is worth examining the terrible track record the Grammy Awards have had with women of color.
As main album artists, Black women make up around 10 percent of all Album of the Year nominees in the 64-year history of music’s most prestigious event. Of those nominees, only three women were able to pull off a win (less than five-percent of all winners). So while Beyonce may be leading on our Gold Derby racetrack, I can’t help but wonder if we’ll see a repeat of her 2017 loss for “Lemonade,” where she was heavily favored but still lost to Adele (“25”).
See Grammys R&b predictions,...
As main album artists, Black women make up around 10 percent of all Album of the Year nominees in the 64-year history of music’s most prestigious event. Of those nominees, only three women were able to pull off a win (less than five-percent of all winners). So while Beyonce may be leading on our Gold Derby racetrack, I can’t help but wonder if we’ll see a repeat of her 2017 loss for “Lemonade,” where she was heavily favored but still lost to Adele (“25”).
See Grammys R&b predictions,...
- 1/26/2023
- by Denton Davidson
- Gold Derby
The Recording Academy has announced several rule changes for the 63rd Grammy Awards, including omitting the term “urban” from its awards categories and language.
The academy is changing the name of the urban contemporary album category to progressive R&b album. The word “urban” has been subject to increasing criticism, most recently by Tyler, the Creator, who called it “a politically correct way to say the N-word” at the January ceremony. Republic Records said last week that it would no longer use the term “urban” to describe music by black artists. Other rule changes include updates to the Best New Artist category, Latin, R&b and Rap Fields and Nominations Review Committees. You can see some of the changes, which take effect immediately, in detail below.
“We’re constantly evaluating our Awards process and evolving it to ensure the Grammy Awards are inclusive and reflect the current state of the music industry,...
The academy is changing the name of the urban contemporary album category to progressive R&b album. The word “urban” has been subject to increasing criticism, most recently by Tyler, the Creator, who called it “a politically correct way to say the N-word” at the January ceremony. Republic Records said last week that it would no longer use the term “urban” to describe music by black artists. Other rule changes include updates to the Best New Artist category, Latin, R&b and Rap Fields and Nominations Review Committees. You can see some of the changes, which take effect immediately, in detail below.
“We’re constantly evaluating our Awards process and evolving it to ensure the Grammy Awards are inclusive and reflect the current state of the music industry,...
- 6/10/2020
- by Denise Petski
- Deadline Film + TV
The Beatles dropped their final studio album Let It Be 50 years ago, on May 8, 1970. It came out a month after Paul McCartney announced the group’s breakup in a press release (At least it was better than doing it with a Post-it Note like on Sex and the City). The original plan for the album, which had been recorded over a year earlier, before the sessions and release of Abbey Road, was a return to basics. There would be no underlying “concept” and there would be no overdubs, just four guys (and occasionally Billy Preston on keyboards) playing live. The world would have to wait for 2003 for the remixed album Let It Be Naked to hear this vision for the album, though. Let it Be was the first album George Martin didn’t produce for the band. The album, initially slated to be called Get Back, which was to be the Beatles’ antidote to overproduction,...
- 5/8/2020
- by Mike Cecchini
- Den of Geek
Bluegrass musician Eric Weissberg, whose cover of the Arthur “Guitar Boogie” Smith instrumental “Dueling Banjos” became an unlikely pop hit when it appeared on the soundtrack to the 1972 film Deliverance, died Sunday at the age of 80 after a five-year struggle with dementia. His son, Will Weissberg, confirmed the musician’s death to Rolling Stone.
“Eric Weissberg was a consummate musician, a solid and seemingly effortless player of stringed instruments of all kinds — banjo, guitar, mandolin, fiddle, pedal steel, and string bass,” his lifelong friend and frequent collaborator Happy Traum wrote on Facebook.
“Eric Weissberg was a consummate musician, a solid and seemingly effortless player of stringed instruments of all kinds — banjo, guitar, mandolin, fiddle, pedal steel, and string bass,” his lifelong friend and frequent collaborator Happy Traum wrote on Facebook.
- 3/23/2020
- by Andy Greene
- Rollingstone.com
One of the best festivals during the first half of the year is The Museum of Modern Art and the Film Society of Lincoln Center’s New Directors/New Films, which kicks off its 46th year this March, running from the 15th to the 26th. With last year’s line-up including some of the year’s best films, including Cameraperson, The Fits, Kaili Blues, Neon Bull, Weiner, and more, we can expect many more discoveries this year.
Opening with Patti Cake$ and closing with Person to Person, in between will be one of our favorite films from Sundance as the centerpiece, Beach Rats. Also among the line-up is a handful of other festival favorites, including The Dreamed Path, The Giant, Menashe, and Lady Macbeth.
“Authenticity is an elusive thing these days, and without it we risk ruin. This is particularly true in cinema,” says Rajendra Roy, the Celeste Bartos Chief...
Opening with Patti Cake$ and closing with Person to Person, in between will be one of our favorite films from Sundance as the centerpiece, Beach Rats. Also among the line-up is a handful of other festival favorites, including The Dreamed Path, The Giant, Menashe, and Lady Macbeth.
“Authenticity is an elusive thing these days, and without it we risk ruin. This is particularly true in cinema,” says Rajendra Roy, the Celeste Bartos Chief...
- 2/15/2017
- by Jordan Raup
- The Film Stage
The Museum of Modern Art and the Film Society of Lincoln Center has today announces their complete lineup for the 46th annual New Directors/New Films (Nd/Nf), running March 15 – 26. Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, this year’s festival will screen 29 features and nine short films. This year’s lineup boasts nine North American premieres, seven U.S. premieres, and two world premieres, with features and shorts from 32 countries across five continents.
The opening, centerpiece, and closing night selections showcase three exciting new voices in American independent cinema that all recently debuted at Sundance: Geremy Jasper’s “Patti Cake$” is the opening night pick, while Eliza Hittman’s “Beach Rats” is the centerpiece selection and Dustin Guy Defa will close the festival with “Person to Person.” Other standouts include “Menashe,” “My Happy Family,” “Quest” and “The Wound.”
Read More: The Sundance Rebel:...
The opening, centerpiece, and closing night selections showcase three exciting new voices in American independent cinema that all recently debuted at Sundance: Geremy Jasper’s “Patti Cake$” is the opening night pick, while Eliza Hittman’s “Beach Rats” is the centerpiece selection and Dustin Guy Defa will close the festival with “Person to Person.” Other standouts include “Menashe,” “My Happy Family,” “Quest” and “The Wound.”
Read More: The Sundance Rebel:...
- 2/15/2017
- by Kate Erbland
- Indiewire
Godless wins Special Jury Prize and Best Actress.Scroll down for the full list of winners
Turkish director Mehmet Can Mertoğlu’s Album has won the Heart of Sarajevo for Best Feature Film at this year’s Sarajevo Film Festival (Aug 12-20).
The comedy, which premiered in Critics’ Week at Cannes in May, follows a middle class Turkish couple who try to cover up the forgery of their family history.
The decision was made by a jury led by Palestinian director Elia Suleiman. The award comes with a prize of $18,000 (€16,000).
Album producer Yoel Meranda commented when receiving the award: “Many people here know that most of the stuff that helped this film get made happened in Sarajevo. It started in Sarajevo, and it’s amazing that we have completed this circle.”
Ralitza Petrova’s Godless was awarded two prizes: the Special Jury prize and Best Actress for lead Irena Ivanova.
The Bulgarian-French-Danish...
Turkish director Mehmet Can Mertoğlu’s Album has won the Heart of Sarajevo for Best Feature Film at this year’s Sarajevo Film Festival (Aug 12-20).
The comedy, which premiered in Critics’ Week at Cannes in May, follows a middle class Turkish couple who try to cover up the forgery of their family history.
The decision was made by a jury led by Palestinian director Elia Suleiman. The award comes with a prize of $18,000 (€16,000).
Album producer Yoel Meranda commented when receiving the award: “Many people here know that most of the stuff that helped this film get made happened in Sarajevo. It started in Sarajevo, and it’s amazing that we have completed this circle.”
Ralitza Petrova’s Godless was awarded two prizes: the Special Jury prize and Best Actress for lead Irena Ivanova.
The Bulgarian-French-Danish...
- 8/20/2016
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Radu Jude’s Scarred Hearts among titles; In Focus strand also revealed.
Sarajevo Film Festival (Aug 12-20) has unveiled its competition and in focus titles ahead of the launch of its 22nd edition next month.
The eight features in competition include two world premieres: Ivan Marinović’s debut The Black Pin; and Lukas Valenta Rinner’s A Decent Woman.
The Black Pin, from Montenegro director Marinovic, centres on a priest who finds himself at odds with the other inhabitants of his small, rural parish when he opposes a large property sale. Serbian Vladimir Vasiljević is co-producing.
Austrian filmmaker Rinner, whose Parabellum won the special jury prize at Jeonju and was up for Rotterdam’s Tiger Award in 2015, returns with A Decent Woman, the story of a housemaid working in an exclusive gated community on the outskirts of Buenos Aires who embarks on a journey of sexual liberation at a nudist swingers club.
After winning...
Sarajevo Film Festival (Aug 12-20) has unveiled its competition and in focus titles ahead of the launch of its 22nd edition next month.
The eight features in competition include two world premieres: Ivan Marinović’s debut The Black Pin; and Lukas Valenta Rinner’s A Decent Woman.
The Black Pin, from Montenegro director Marinovic, centres on a priest who finds himself at odds with the other inhabitants of his small, rural parish when he opposes a large property sale. Serbian Vladimir Vasiljević is co-producing.
Austrian filmmaker Rinner, whose Parabellum won the special jury prize at Jeonju and was up for Rotterdam’s Tiger Award in 2015, returns with A Decent Woman, the story of a housemaid working in an exclusive gated community on the outskirts of Buenos Aires who embarks on a journey of sexual liberation at a nudist swingers club.
After winning...
- 7/20/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Halfway through the Cannes Film Festival, buzz is hearing about “Jackie”, now in post-production, an account of the days of First Lady Jacqueline Kennedy in the immediate aftermath of John F. Kennedy's assassination in 1963, directed by Pablo Larraín whose Directors’ Fortnight contender “Neruda” is receiving raves here. Another hot Directors’ Fortnight film “Mean Dreams” with Bill Paxton is praised by one important film buyer as “Mud” meets “Cold in July” in a tense coming-of-age drama about a 15-year-old boy. And Sony Pictures Classics has snatched U.S. rights to the German Competition comedy, “Toni Erdmann”.
This year in the Cannes Film Festival’s Official Competition Section, there are no first time film directors, only established masters, some praised and some panned. However, Cannes Official Un Certain Regard specifically shows emerging filmmakers who are considered to be the next generation of master auteurs of cinema. Out of its 17 films, seven were first features from Romania, France, Israel, USA, Argentina, Finland and the Netherlands. Three of the seven are by women: Stéphanie Di Giusto’s “La Danseuse” (“The Dancer”) is about Loïe Fuller, the toast of the Folies Bergères at the turn of the 20th century and an inspiration for Toulouse-Lautrec and the Lumière Brothers.
Maha Haj From Israel debuted on the first day with “Personal Affairs”, about an old couple in Nazareth and their son and daughter who live on the other side of the border. Other first films are the much-anticipated “The Red Turtle”, a dialogue-free animated feature from Studio Ghibli but made in France and directed by Dutch-born, London-based animator Michael Dudok de Wit, the Finnish-German-Swedish “The Happiest Day In The Life Of Olli Mäki” and Bogdan Mirica’s “Dogs”. The debut So. Korean film, “Train to Busan”, showed in the Official Midnight Screening section and featured a zombie-virus breaking out in South Korea, and a couple of passengers struggling to survive on the train from Seoul to Busan – enough to make me want to stop traveling.
“Fool Moon” by France’s Gregoire Leprinr-Foret had a Special Screening within the Official selection and received mixed reviews. In Critics Week, three of ten films selected and judged bycritics as the best films of the year thus far are first features: K. Rajapal’s drama “A Yellow Bird” from Singapore and France about a Singaporean Indian man trying to reconnect with his estranged family after he is released from prison, Mehmet Can Mertoglu’s “Albüm” from Turkey, France and Romania (See the trailer here) and Alessandro Comidin’s “Happy Times Will Come Soon” from Italy. The Acid sidebar of eight very independent features has two first films.
Also noticeable this year is the high number of films co-financed by the Doha Film Institute. Asgaard Farhadi's " The Salesman" will have its world premiere in the Festival’s Official Competition where it competes for the coveted Palme d’Or. “The Salesman” is about a couple who is forced out of their apartment due to dangerous works on a neighboring building. It is one of two Iranian films this year. The other, “Inversion” will play in Un Certain Regard.” Newly established Doha Film Institute lent financial support to two films showing in Un Certain Regard section – “Apprentice” (Singapore, Germany, France, Hong Kong, Qatar) written and directed by Boo Junfeng; and debut feature “Dogs” (Romania, France, Bulgaria, Qatar). Directors’ Fortnight is screens “Divines” (Morocco, France, Qatar) and three Dfi grantee films compete for top honors in the Critics Week: “Mimosas” (Spain, Morocco, France, Qatar) by Oliver Laxe; “Tramontane” (Lebanon, France, UAE, Qatar) by Vatche Boulghourjian; and “Diamond Island” (Cambodia, France, Germany, Qatar) by Davy Chou touted as poetic and beautiful, a part of what might be a Cambodian New Wave. This New Wave from Cambodia is being helped along by the Doha Film Institute whose CEO, Fatma Al Remaihi says:
“At the very core of Dfi’s film funding mandate is to contribute to World Cinema and ensure that great stories continue to be told. These projects will also inspire the young Qatari film professionals to create compelling content that will gain international acclaim.”
Shahrbanoo Sadat’s debut feature “Wolf and Sheep”, in Directors’ Fortnight, is about Sadat herself, who lives in Kabul and Denmark. It takes place in the isolated village in Central Afghanistan where she grew up and where young boys and girls are shepherds. International coproductions are the engine driving the film business today and this one, a Denmark-France-Sweden-Afghanistan coproduction is a prime example. Sadat was spotted previously when her 2011 short “Vice Versa One” screened at Directors’ Fortnight and was invited to develop “Wolf And Sheep” at Cannes Cinefondation Residency in 2010, which mentors emerging talent. Virginie Devesa of the international sales company Alpha Violet picked up the film here in Cannes. Alpha Violet is also selling ”A Yellow Bird” in Critics’ Week and is representing “Luxembourg”, the newest film by Myroslav Slaboshpytskiy, whose first film “The Tribe” played in Sundance and other top fests.
This year in the Cannes Film Festival’s Official Competition Section, there are no first time film directors, only established masters, some praised and some panned. However, Cannes Official Un Certain Regard specifically shows emerging filmmakers who are considered to be the next generation of master auteurs of cinema. Out of its 17 films, seven were first features from Romania, France, Israel, USA, Argentina, Finland and the Netherlands. Three of the seven are by women: Stéphanie Di Giusto’s “La Danseuse” (“The Dancer”) is about Loïe Fuller, the toast of the Folies Bergères at the turn of the 20th century and an inspiration for Toulouse-Lautrec and the Lumière Brothers.
Maha Haj From Israel debuted on the first day with “Personal Affairs”, about an old couple in Nazareth and their son and daughter who live on the other side of the border. Other first films are the much-anticipated “The Red Turtle”, a dialogue-free animated feature from Studio Ghibli but made in France and directed by Dutch-born, London-based animator Michael Dudok de Wit, the Finnish-German-Swedish “The Happiest Day In The Life Of Olli Mäki” and Bogdan Mirica’s “Dogs”. The debut So. Korean film, “Train to Busan”, showed in the Official Midnight Screening section and featured a zombie-virus breaking out in South Korea, and a couple of passengers struggling to survive on the train from Seoul to Busan – enough to make me want to stop traveling.
“Fool Moon” by France’s Gregoire Leprinr-Foret had a Special Screening within the Official selection and received mixed reviews. In Critics Week, three of ten films selected and judged bycritics as the best films of the year thus far are first features: K. Rajapal’s drama “A Yellow Bird” from Singapore and France about a Singaporean Indian man trying to reconnect with his estranged family after he is released from prison, Mehmet Can Mertoglu’s “Albüm” from Turkey, France and Romania (See the trailer here) and Alessandro Comidin’s “Happy Times Will Come Soon” from Italy. The Acid sidebar of eight very independent features has two first films.
Also noticeable this year is the high number of films co-financed by the Doha Film Institute. Asgaard Farhadi's " The Salesman" will have its world premiere in the Festival’s Official Competition where it competes for the coveted Palme d’Or. “The Salesman” is about a couple who is forced out of their apartment due to dangerous works on a neighboring building. It is one of two Iranian films this year. The other, “Inversion” will play in Un Certain Regard.” Newly established Doha Film Institute lent financial support to two films showing in Un Certain Regard section – “Apprentice” (Singapore, Germany, France, Hong Kong, Qatar) written and directed by Boo Junfeng; and debut feature “Dogs” (Romania, France, Bulgaria, Qatar). Directors’ Fortnight is screens “Divines” (Morocco, France, Qatar) and three Dfi grantee films compete for top honors in the Critics Week: “Mimosas” (Spain, Morocco, France, Qatar) by Oliver Laxe; “Tramontane” (Lebanon, France, UAE, Qatar) by Vatche Boulghourjian; and “Diamond Island” (Cambodia, France, Germany, Qatar) by Davy Chou touted as poetic and beautiful, a part of what might be a Cambodian New Wave. This New Wave from Cambodia is being helped along by the Doha Film Institute whose CEO, Fatma Al Remaihi says:
“At the very core of Dfi’s film funding mandate is to contribute to World Cinema and ensure that great stories continue to be told. These projects will also inspire the young Qatari film professionals to create compelling content that will gain international acclaim.”
Shahrbanoo Sadat’s debut feature “Wolf and Sheep”, in Directors’ Fortnight, is about Sadat herself, who lives in Kabul and Denmark. It takes place in the isolated village in Central Afghanistan where she grew up and where young boys and girls are shepherds. International coproductions are the engine driving the film business today and this one, a Denmark-France-Sweden-Afghanistan coproduction is a prime example. Sadat was spotted previously when her 2011 short “Vice Versa One” screened at Directors’ Fortnight and was invited to develop “Wolf And Sheep” at Cannes Cinefondation Residency in 2010, which mentors emerging talent. Virginie Devesa of the international sales company Alpha Violet picked up the film here in Cannes. Alpha Violet is also selling ”A Yellow Bird” in Critics’ Week and is representing “Luxembourg”, the newest film by Myroslav Slaboshpytskiy, whose first film “The Tribe” played in Sundance and other top fests.
- 5/27/2016
- by Sydney Levine
- Sydney's Buzz
Other winners included Mehmet Can Mertoglu’s Albüm and Wregas Bhanuteja’s Penjak.
Oliver Laxe’s Mimosas has won the Nespresso Grand Prize at the 55th Critics’ Week – the Cannes Film Festival sidebar devoted to first and second features.
Review: Mimosas
The story follows a caravan escorting a dying sheikh across the Atlas Mountains to fulfil his dying wish.
France-born, Spain-based Laxe won the €15,000 ($17,000) prize, which has previously been awarded to Guillermo del Toro, Gaspar Noe and Alejandro Gonzalez Inarritu among others.
The film, which was shot in Morocco and took part in Qumra 2016, is Laxe’s second film after You Are All Captains, which screened in Directors’ Fortnight in 2010, winning the Fipresci prize
Mimosas is a Spain-Morocco-France-Qatar co-production and is sold by Luxbox.
Albüm, from Turkish filmmaker Mehmet Can Mertoğlu, won the France 4 Visionary Award, which rewards “outstanding creativity and innovation”.
The black comedy centres on an Antalya-based couple who fake a pregnancy to keep their...
Oliver Laxe’s Mimosas has won the Nespresso Grand Prize at the 55th Critics’ Week – the Cannes Film Festival sidebar devoted to first and second features.
Review: Mimosas
The story follows a caravan escorting a dying sheikh across the Atlas Mountains to fulfil his dying wish.
France-born, Spain-based Laxe won the €15,000 ($17,000) prize, which has previously been awarded to Guillermo del Toro, Gaspar Noe and Alejandro Gonzalez Inarritu among others.
The film, which was shot in Morocco and took part in Qumra 2016, is Laxe’s second film after You Are All Captains, which screened in Directors’ Fortnight in 2010, winning the Fipresci prize
Mimosas is a Spain-Morocco-France-Qatar co-production and is sold by Luxbox.
Albüm, from Turkish filmmaker Mehmet Can Mertoğlu, won the France 4 Visionary Award, which rewards “outstanding creativity and innovation”.
The black comedy centres on an Antalya-based couple who fake a pregnancy to keep their...
- 5/20/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Other winners included Mehmet Can Mertoglu’s Albüm and Wregas Bhanuteja’s Penjak.
Oliver Laxe’s Mimosas has won the Nespresso Grand Prize at the 55th Critics’ Week – the Cannes Film Festival sidebar devoted to first and second features.
Review: Mimosas
The story follows a caravan escorting a dying sheikh across the Atlas Mountains to fulfil his dying wish.
France-born, Spain-based Laxe won the €15,000 ($17,000) prize, which has previously been awarded to Guillermo del Toro, Gaspar Noe and Alejandro Gonzalez Inarritu among others.
The film, which was shot in Morocco and took part in Qumra 2016, is Laxe’s second film after You Are All Captains, which screened in Directors’ Fortnight in 2010, winning the Fipresci prize
Mimosas is a Spain-Morocco-France-Qatar co-production and is sold by Luxbox.
Albüm, from Turkish filmmaker Mehmet Can Mertoğlu, won the France 4 Visionary Award, which rewards “outstanding creativity and innovation”.
The black comedy centres on an Antalya-based couple who fake a pregnancy to keep their...
Oliver Laxe’s Mimosas has won the Nespresso Grand Prize at the 55th Critics’ Week – the Cannes Film Festival sidebar devoted to first and second features.
Review: Mimosas
The story follows a caravan escorting a dying sheikh across the Atlas Mountains to fulfil his dying wish.
France-born, Spain-based Laxe won the €15,000 ($17,000) prize, which has previously been awarded to Guillermo del Toro, Gaspar Noe and Alejandro Gonzalez Inarritu among others.
The film, which was shot in Morocco and took part in Qumra 2016, is Laxe’s second film after You Are All Captains, which screened in Directors’ Fortnight in 2010, winning the Fipresci prize
Mimosas is a Spain-Morocco-France-Qatar co-production and is sold by Luxbox.
Albüm, from Turkish filmmaker Mehmet Can Mertoğlu, won the France 4 Visionary Award, which rewards “outstanding creativity and innovation”.
The black comedy centres on an Antalya-based couple who fake a pregnancy to keep their...
- 5/20/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
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