Exclusive: France tv distribution has launched sales on French director Benoît Jacquot’s upcoming crime thriller Belle starring Charlotte Gainsbourg and Guillaume Canet.
The work is adapted from the 1951 novel The Death Of Belle by the iconic Belgian writer Georges Simenon who is best known for his novels about Paris detective Maigret.
Canet and Gainsbourg will play a couple leading a peaceful existence in a small provincial town. He is a teacher and she runs an opticians practice.
Their life is turned upside when Belle, a friend’s daughter who is lodging with them, is found dead in her room. The husband becomes the prime suspect as the only one at home at the time.
He finds himself subject to humiliating questioning by the police, ostracized by colleagues and treated with hostility by the local townspeople. In this small town where nothing is a secret the question on everyone’s lips is,...
The work is adapted from the 1951 novel The Death Of Belle by the iconic Belgian writer Georges Simenon who is best known for his novels about Paris detective Maigret.
Canet and Gainsbourg will play a couple leading a peaceful existence in a small provincial town. He is a teacher and she runs an opticians practice.
Their life is turned upside when Belle, a friend’s daughter who is lodging with them, is found dead in her room. The husband becomes the prime suspect as the only one at home at the time.
He finds himself subject to humiliating questioning by the police, ostracized by colleagues and treated with hostility by the local townspeople. In this small town where nothing is a secret the question on everyone’s lips is,...
- 5/23/2023
- by Melanie Goodfellow
- Deadline Film + TV
Young Hong Kong filmmaker Sasha Chuk emerges as the biggest winner as the three-day 21st Hong Kong – Asia Film Financing Forum (HAF21) successfully concluded today with the announcement of the recipients of 20 cash and in-kind awards worth more than US$170,000.
Chuk received [an unprecedented] four awards – the Heaven Pictures Young Director Award, the Ccg Grand Award, the mm2 Award, and the Wip Award – for her Stanley Kwan-produced Fly Me to the Moon. The work-in-progress is also one of the five projects selected for this year's Haf Goes To Cannes initiative.
Taiwan's Lien Chien-Hung and Mainland China's Guan Tian also excelled at HAF21, each taking home three awards for Salli and The Poison Cat, respectively.
Returning to its regular March dates with the Hong Kong International Film & TV Market (Filmart), HAF21 was the first physical, in-person event since 2019 after three consecutive online editions. The event attracted 30% more accredited participants than the last edition.
Chuk received [an unprecedented] four awards – the Heaven Pictures Young Director Award, the Ccg Grand Award, the mm2 Award, and the Wip Award – for her Stanley Kwan-produced Fly Me to the Moon. The work-in-progress is also one of the five projects selected for this year's Haf Goes To Cannes initiative.
Taiwan's Lien Chien-Hung and Mainland China's Guan Tian also excelled at HAF21, each taking home three awards for Salli and The Poison Cat, respectively.
Returning to its regular March dates with the Hong Kong International Film & TV Market (Filmart), HAF21 was the first physical, in-person event since 2019 after three consecutive online editions. The event attracted 30% more accredited participants than the last edition.
- 3/15/2023
- by Rouven Linnarz
- AsianMoviePulse
“All Ayumu dreams of is making it into the same high school as her best friend. But when she gets in and her friend doesn't, their friendship crumbles-sending Ayumu spiraling into depression. She finds relief in cutting herself, but realizes soon that her scars may interfere with her budding high school life. Can she trust her new friend, Manami, who seems too good to be true? Or will Ayumu's apparent lack of compassion and understanding get her tossed aside like she was before? And is there anyone else out there who could possibly love her for who she is?” (Kodansha)
on Amazon by clicking on the image below
Unabashedly exploring mental health as it pertains to self-harm, Keiko Suenobu's “Life” has already seen infamy and praise, including the grand prize winner at the 30th Kodansha Manga Awards for best Shojo series. The series was published that...
on Amazon by clicking on the image below
Unabashedly exploring mental health as it pertains to self-harm, Keiko Suenobu's “Life” has already seen infamy and praise, including the grand prize winner at the 30th Kodansha Manga Awards for best Shojo series. The series was published that...
- 3/13/2023
- by Adam Symchuk
- AsianMoviePulse
Manborg: The Novelization Blasts Onto Bookshelves From Author Bret Nelson And Encyclopocalypse Publications: "Encyclopocalypse Publications, founded by Saturn and Rondo Award-winning writer/producer Mark Alan Miller is proud to add Manborg to its wildly addicting novelization series.
Manborg is penned by Bret Nelson (author of Lumber and Other Tales) from the original script by Steven Kostanski and Jeremy Gillespie.
“Whenever I read about the movie, Manborg, it is noted early and often that the team at Astron 6 managed to make it for 1,000 Cad. I’d rather note, early and often, that the budget limitations were overcome by the talent and tenacity of the filmmakers.” Nelson says. “Yes, it has a garage-band feel and it’s rough around the edges. But look deeper. The wide shots of Meganet City feature vehicles and people in the backgrounds, you’d expect a pan across a still image. In dialogue, the usual low-budget,...
Manborg is penned by Bret Nelson (author of Lumber and Other Tales) from the original script by Steven Kostanski and Jeremy Gillespie.
“Whenever I read about the movie, Manborg, it is noted early and often that the team at Astron 6 managed to make it for 1,000 Cad. I’d rather note, early and often, that the budget limitations were overcome by the talent and tenacity of the filmmakers.” Nelson says. “Yes, it has a garage-band feel and it’s rough around the edges. But look deeper. The wide shots of Meganet City feature vehicles and people in the backgrounds, you’d expect a pan across a still image. In dialogue, the usual low-budget,...
- 5/26/2022
- by Jonathan James
- DailyDead
Exclusive: Ne-Yo (Step Up: High Water) has signed on to star alongside his real-life aunt Kym Whitley (Twenties) and niece Tyler Kay Whitley (The Game) in the indie romantic comedy The Pact, from writer-director Robert Mychal Patrick Butler (Life Ain’t Like The Movies).
The film follows best friends Jessie (Tyler Kay Whitley) and Brandon, who made a pact in college to get married on their 30th birthday, should they both be single at the time. After Brandon gets dumped by his longtime girlfriend Amanda (Grace Aubry) on the eve of his 30th, he heads to Vegas with Jessie, marrying her after a night of drunken shenanigans. Back home, confronted with the fallout of their decision, Jessie has to deal with a new relationship and her upset Aunt Porsha (Kym Whitley), who found out her favorite niece has gotten married on social media. She’s at the same time tasked by her manager,...
The film follows best friends Jessie (Tyler Kay Whitley) and Brandon, who made a pact in college to get married on their 30th birthday, should they both be single at the time. After Brandon gets dumped by his longtime girlfriend Amanda (Grace Aubry) on the eve of his 30th, he heads to Vegas with Jessie, marrying her after a night of drunken shenanigans. Back home, confronted with the fallout of their decision, Jessie has to deal with a new relationship and her upset Aunt Porsha (Kym Whitley), who found out her favorite niece has gotten married on social media. She’s at the same time tasked by her manager,...
- 4/14/2022
- by Matt Grobar
- Deadline Film + TV
Joan Didion, the journalist, novelist, and screenwriter of such films as the 1976 “A Star Is Born” died Thursday at her home in Manhattan at the age of 87. The New York Times reported that the cause was Parkinson’s disease.
Didion was born in Sacramento in 1934. The fifth-generation Californian found some of her most important material for her earliest writing in the culture and chaos of her home state. Her career began after she won a pair of writing contests put on by magazines during her time at Uc Berkeley. One of those wins led her to begin writing at Vogue.
She worked her way up to features editor at the fashion magazine. In 1963 she published her first novel, “Run River,” about the unraveling of a marriage that also serves as a commentary on the history of California.
Around that time and while living in New York she struck up a friendship,...
Didion was born in Sacramento in 1934. The fifth-generation Californian found some of her most important material for her earliest writing in the culture and chaos of her home state. Her career began after she won a pair of writing contests put on by magazines during her time at Uc Berkeley. One of those wins led her to begin writing at Vogue.
She worked her way up to features editor at the fashion magazine. In 1963 she published her first novel, “Run River,” about the unraveling of a marriage that also serves as a commentary on the history of California.
Around that time and while living in New York she struck up a friendship,...
- 12/23/2021
- by Chris Lindahl
- Indiewire
Joan Didion, the storied author and New Journalism icon best known for books like Play It as It Lays, The White Album, and The Year of Magical Thinking, died Thursday, The New York Times reports. She was 87.
Didion died at her home in Manhattan after a battle with Parkinson’s disease, a spokesperson for her publisher, Knopf, confirmed. “Didion was one of the country’s most trenchant writers and astute observers,” the statement read. “Her best-selling works of fiction, commentary, and memoir have received numerous honors and are considered modern classics.
Didion died at her home in Manhattan after a battle with Parkinson’s disease, a spokesperson for her publisher, Knopf, confirmed. “Didion was one of the country’s most trenchant writers and astute observers,” the statement read. “Her best-selling works of fiction, commentary, and memoir have received numerous honors and are considered modern classics.
- 12/23/2021
- by Jon Blistein
- Rollingstone.com
It took a lot of convincing for Mia Farrow to become a part of Kirby Dick’s latest documentary, “Allen v. Farrow.” “This whole case had been covered—actually mis-covered for decades and they had really felt the impact of that, of not being believed, of being blamed actually,” Dick tells Gold Derby in our Meet the Experts: Documentary and Nonfiction panel (watch the exclusive video interview above). Even though she was very apprehensive about being a part of the documentary, it was ultimately her daughter, Dylan Farrow, that brought Mia around to participating. “I think it’s because of Dylan’s courage and her willingness to step forward as she’s done several times over the last six, seven years.”
“Allen v. Farrow,” which premiered on HBO back in February, re-examines Dylan’s accusations of being sexually molested by her adoptive father, Woody Allen, back in 1992. In addition to...
“Allen v. Farrow,” which premiered on HBO back in February, re-examines Dylan’s accusations of being sexually molested by her adoptive father, Woody Allen, back in 1992. In addition to...
- 8/10/2021
- by Charles Bright
- Gold Derby
Paris-based Le Pacte has closed a raft of sales on Olivier Peyon’s “Tokyo Shaking” and Nadine Loiseau’s “Three Times Nothing,” both of which are screening at the Berlin Festival’s virtual European Film Market.
A hot title on Le Pacte’s slate, “Tokyo Shaking” sold to Germany and Austria (Zdf), Israel (New Cinema), Canada (Axia Films), Spain (Alfa Pictures) and the Czech Republic and Slovakia (Mediasquad).
“Tokyo Shaking” is set on March 11, 2011, when Japan was hit by the biggest tsunami it had ever experienced, leading to the Fukushima disaster. While risks are being officially downplayed, the foreign community in Tokyo is terrified by this tragic event and no one is capable of assessing its scope.
The film stars Karin Viard (pictured) as Alexandra, a French executive newly arrived from Hong-Kong to work in a bank, who has to face this nuclear crisis amid pervading terror and chaos.
“Tokyo...
A hot title on Le Pacte’s slate, “Tokyo Shaking” sold to Germany and Austria (Zdf), Israel (New Cinema), Canada (Axia Films), Spain (Alfa Pictures) and the Czech Republic and Slovakia (Mediasquad).
“Tokyo Shaking” is set on March 11, 2011, when Japan was hit by the biggest tsunami it had ever experienced, leading to the Fukushima disaster. While risks are being officially downplayed, the foreign community in Tokyo is terrified by this tragic event and no one is capable of assessing its scope.
The film stars Karin Viard (pictured) as Alexandra, a French executive newly arrived from Hong-Kong to work in a bank, who has to face this nuclear crisis amid pervading terror and chaos.
“Tokyo...
- 3/2/2021
- by Elsa Keslassy
- Variety Film + TV
The cast also includes Sabine Azéma, Maud Wyler and Laurent Poitrenaux. Produced by 31 Juin Films, this third feature from the director will be sold by Pyramide. Three more weeks of filming for Aurélia Georges’ La place d’une autre, the third feature from the director, after L'Homme qui marche (selected in the Acid competition in Cannes in 2007) and La fille et le fleuve (2014). The cast includes Lyna Khoudri, Sabine Azéma (winner of the Best Actress César award in 1985 and 1987 and nominated four other times), Maud Wyler (very well received in The Bare Necessity and a stand out in Alice and the Mayor) and Laurent Poitrenaux. Very freely...
- 11/19/2020
- Cineuropa - The Best of European Cinema
When Gary Rizzo and Jonathan Greber signed on as part of the sound team for the documentary, “Laurel Canyon,” they began a massive undertaking of matching sounds to people and remixing old recordings to make it acceptable to a modern audience. It starts on the side of Greber, the sound editor, who’s dealing with his team as well as the picture editor and a mountain of archival material. “There were some challenges of matching people when they were younger to when they’re older. We had to play around with those things but all the while making sure never to alter anything,” explains Greber. When the audio made its way over to Rizzo, the mixer, he had to make it work all these songs work in a modern sense even if they weren’t recorded to the effect. “You’re trying to make it into what is acceptable to a contemporary audience.
- 8/13/2020
- by Charles Bright
- Gold Derby
This year’s pandemic-altered Venice Film Festival will include a record number of competition films directed by women, festival organizers announced on Tuesday. And two of those are also the only Hollywood studio films to make the competition lineup — Mona Fastvold’s “The World to Come” and Chloé Zhao’s “Nomadland.”
In all, eight of the 18 competition features have a female director — an improvement from last year, when just two made the cut.
“Nomadland,” a drama starring Frances McDormand released by Searchlight Pictures, will simultaneously premiere through the Toronto Film Festival as well as through the New York Film Festival and the now-canceled Telluride fest (at a special drive-in screening in Southern California). Sony’s “The World to Come” stars Casey Affleck, Vanessa Kirby and Katherine Waterston.
Also Read: Frances McDormand's 'Nomadland' to Get Joint World Premiere From Venice and Toronto Film Festivals
Other top titles screening out...
In all, eight of the 18 competition features have a female director — an improvement from last year, when just two made the cut.
“Nomadland,” a drama starring Frances McDormand released by Searchlight Pictures, will simultaneously premiere through the Toronto Film Festival as well as through the New York Film Festival and the now-canceled Telluride fest (at a special drive-in screening in Southern California). Sony’s “The World to Come” stars Casey Affleck, Vanessa Kirby and Katherine Waterston.
Also Read: Frances McDormand's 'Nomadland' to Get Joint World Premiere From Venice and Toronto Film Festivals
Other top titles screening out...
- 7/28/2020
- by Thom Geier
- The Wrap
Playwright Terrence McNally’s death from coronavirus-related causes in late March deprived the theater world of one of its greatest talents, a four-time Tony Award winner known for Master Class and Frankie and Johnny in the Clair de Lune, among many other works. Just how much he achieved in his 81 years comes into focus in the Emmy-contending documentary Terrence McNally: Every Act of Life, directed by Jeff Kaufman and produced by Marcia Ross.
“At every stage of Terrence’s life, he keeps pushing himself in a new direction,” Kaufman tells Deadline. “He never plays it safe. He’s a truth teller.”
The film premiered on PBS last year as part of American Masters. That series, winner of 28 Emmys to date, is once again up for consideration as Outstanding Documentary or Nonfiction Series, and the Terrence McNally episode will appear on nomination ballots in the directing, editing, cinematography and sound categories.
“At every stage of Terrence’s life, he keeps pushing himself in a new direction,” Kaufman tells Deadline. “He never plays it safe. He’s a truth teller.”
The film premiered on PBS last year as part of American Masters. That series, winner of 28 Emmys to date, is once again up for consideration as Outstanding Documentary or Nonfiction Series, and the Terrence McNally episode will appear on nomination ballots in the directing, editing, cinematography and sound categories.
- 6/8/2020
- by Matthew Carey
- Deadline Film + TV
On par with 2018, the overseas box office revenue of French movies reached an estimated €244.4 millions ($272 million) from 40 million admissions in 2019, according to a report unveiled by UniFrance.
The org said the worldwide B.O. of French movies was stable and highlighted the large representation of French films at major festivals and across leading streaming services. Italy was once again this year the biggest foreign market for French movies, followed by Germany and Spain.
The mainstream French comedy “Serial (Bad) Weddings,” which already ranks as the highest-grossing films in France in 2019, was also the most successful French movie abroad with nearly €23 million grossed worldwide. Directed by Philippe de Chauveron, the movie follows a narrow-minded Catholic couple and their three daughters, who have married men of different faiths.
Although it failed at the U.S. box office, Luc Besson’s action pic “Anna” still turned out to be the second highest-grossing French film abroad with €22.8 million.
The org said the worldwide B.O. of French movies was stable and highlighted the large representation of French films at major festivals and across leading streaming services. Italy was once again this year the biggest foreign market for French movies, followed by Germany and Spain.
The mainstream French comedy “Serial (Bad) Weddings,” which already ranks as the highest-grossing films in France in 2019, was also the most successful French movie abroad with nearly €23 million grossed worldwide. Directed by Philippe de Chauveron, the movie follows a narrow-minded Catholic couple and their three daughters, who have married men of different faiths.
Although it failed at the U.S. box office, Luc Besson’s action pic “Anna” still turned out to be the second highest-grossing French film abroad with €22.8 million.
- 1/16/2020
- by Elsa Keslassy
- Variety Film + TV
Following our top 50 films of 2019, we’re sharing personal top 10 lists from our contributors. Check out the latest below and see our complete year-end coverage here.
The mild, sedately humming anxiety of a decade’s end yields innumerable ideas, most pertinent to this list being the inclusion of festival premieres currently awaiting theatrical release. An exceptional desire to leave the 2010s runs concurrent with the realization that many fresh offerings are sans whatever spark gets something here, and if the brand-new film you saw this year exemplified much of what you’re seeking every time you even bother taking a chance, well, rules both real and imagined shall be foregone. That slack response is both the cinema and me, but I retain immense excitement for the 2020s–less about those I love continuing than one whose name currently means zero becoming a front-center fixture within ten years that will round...
The mild, sedately humming anxiety of a decade’s end yields innumerable ideas, most pertinent to this list being the inclusion of festival premieres currently awaiting theatrical release. An exceptional desire to leave the 2010s runs concurrent with the realization that many fresh offerings are sans whatever spark gets something here, and if the brand-new film you saw this year exemplified much of what you’re seeking every time you even bother taking a chance, well, rules both real and imagined shall be foregone. That slack response is both the cinema and me, but I retain immense excitement for the 2020s–less about those I love continuing than one whose name currently means zero becoming a front-center fixture within ten years that will round...
- 1/3/2020
- by Nick Newman
- The Film Stage
Isabelle Huppert in a beautiful Burberry vest and jacket on Joan Crawford and movie star shoes in Mildred Pierce: "My favourite ever!" Photo: Anne-Katrin Titze
Ira Sachs' Frankie, co-written with longtime collaborator Mauricio Zacharias, starring Isabelle Huppert in the title role, with Brendan Gleeson, Jérémie Renier, Marisa Tomei, Pascal Greggory (Olivier Assayas' Non-Fiction), Greg Kinnear, Vinette Robinson, Ariyon Bakare, Carloto Cotta, and Sennia Nanua, shot by Rui Poças in Sintra, Portugal, had its world première at the Cannes Film Festival.
Frankie (Isabelle Huppert) with her son Paul (Jérémie Renier)
At the Four Seasons on a stormy afternoon in New York, Isabelle connected Werner Schroeter's Two, Michael Haneke's The Piano Teacher, Chantal Akerman, costume designer Khadija Zeggaï, and the magic of Sintra for the first half of our conversation on Frankie.
One day in the beautiful town of Sintra...
Ira Sachs' Frankie, co-written with longtime collaborator Mauricio Zacharias, starring Isabelle Huppert in the title role, with Brendan Gleeson, Jérémie Renier, Marisa Tomei, Pascal Greggory (Olivier Assayas' Non-Fiction), Greg Kinnear, Vinette Robinson, Ariyon Bakare, Carloto Cotta, and Sennia Nanua, shot by Rui Poças in Sintra, Portugal, had its world première at the Cannes Film Festival.
Frankie (Isabelle Huppert) with her son Paul (Jérémie Renier)
At the Four Seasons on a stormy afternoon in New York, Isabelle connected Werner Schroeter's Two, Michael Haneke's The Piano Teacher, Chantal Akerman, costume designer Khadija Zeggaï, and the magic of Sintra for the first half of our conversation on Frankie.
One day in the beautiful town of Sintra...
- 10/18/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Olivier Assayas, Penélope Cruz, Édgar Ramírez, and producer Rodrigo Teixeira with Kent Jones at the New York Film Festival Photo: Anne-Katrin Titze
Wasp Network, another highlight of this year's New York Film Festival, stars Penélope Cruz and Édgar Ramírez with Gael García Bernal, Wagner Moura, Ana de Armas, and Leonardo Sbaraglia. Inspired by Fernando Morais’s book The Last Soldiers Of The Cold War, the director/screenwriter Olivier Assayas announced that the film shot by Yorick Le Saux and Denis Lenoir, had been edited substantially since it was first shown at the Venice Film Festival on September 1. Assayas considered what we watched at the press screening on the afternoon of Friday, October 4 to be the film's new final cut world première.
Penélope Cruz: "I love babies. Once they get to the set they're mine!" Photo: Anne-Katrin Titze
Wasp Network transports us into the realm of Cubans...
Wasp Network, another highlight of this year's New York Film Festival, stars Penélope Cruz and Édgar Ramírez with Gael García Bernal, Wagner Moura, Ana de Armas, and Leonardo Sbaraglia. Inspired by Fernando Morais’s book The Last Soldiers Of The Cold War, the director/screenwriter Olivier Assayas announced that the film shot by Yorick Le Saux and Denis Lenoir, had been edited substantially since it was first shown at the Venice Film Festival on September 1. Assayas considered what we watched at the press screening on the afternoon of Friday, October 4 to be the film's new final cut world première.
Penélope Cruz: "I love babies. Once they get to the set they're mine!" Photo: Anne-Katrin Titze
Wasp Network transports us into the realm of Cubans...
- 10/6/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
It’s unusual for a Western film to present spies for Fidel Castro as the heroes. And that novelty, alas, is one of the few selling points of “Wasp Network,” a surprising disappointment from Olivier Assayas, one of the more interesting and eclectic filmmakers working today.
Assayas previously teamed with Edgar Ramírez on the gripping “Carlos,” but this time, the true-story aspect of this docudrama seems to have bogged down the filmmaker. When he has occasion to put the plot aside and focus on the characters, “Wasp Network” comes to life, but these moments are too few and far between.
The story itself is fascinating — in the 1990s, Cuban pilots René González (Ramírez) and Juan Pablo Roque made headlines by escaping Cuba and defecting to the United States. (González flew out in a small plane in 1990; Roque swam to Guantanamo Bay two years later.)
Also Read: Penelope Cruz, Gael Garcia...
Assayas previously teamed with Edgar Ramírez on the gripping “Carlos,” but this time, the true-story aspect of this docudrama seems to have bogged down the filmmaker. When he has occasion to put the plot aside and focus on the characters, “Wasp Network” comes to life, but these moments are too few and far between.
The story itself is fascinating — in the 1990s, Cuban pilots René González (Ramírez) and Juan Pablo Roque made headlines by escaping Cuba and defecting to the United States. (González flew out in a small plane in 1990; Roque swam to Guantanamo Bay two years later.)
Also Read: Penelope Cruz, Gael Garcia...
- 9/1/2019
- by Alonso Duralde
- The Wrap
French director/writer Olivier Assayas is working with perhaps his most high-profile cast yet for his latest film, “Wasp Network,” competing at the Venice Film Festival and starring Penélope Cruz, Edgar Ramirez, and Gael García Bernal.
The film pivots on the true story of five Cuban spies held as political prisoners from the late 1990s up until 2014, and it’s based on the book “The Last Soldiers of the Cold War: The Story of the Cuban Five” by Fernando Morais. Assayas — acclaimed for films including “Personal Shopper,” “Irma Vep,” and most recently “Non-Fiction,” as well as the Golden Globe Award-winning miniseries “Carlos” — wrote the script himself, but the actual production of the film proved to be a challenge, as revealed in a recent interview with Variety out of the Venice Film Festival.
Assayas said that, initially, Cuban authorities refused to let him shoot “Wasp Network” in the country where, despite...
The film pivots on the true story of five Cuban spies held as political prisoners from the late 1990s up until 2014, and it’s based on the book “The Last Soldiers of the Cold War: The Story of the Cuban Five” by Fernando Morais. Assayas — acclaimed for films including “Personal Shopper,” “Irma Vep,” and most recently “Non-Fiction,” as well as the Golden Globe Award-winning miniseries “Carlos” — wrote the script himself, but the actual production of the film proved to be a challenge, as revealed in a recent interview with Variety out of the Venice Film Festival.
Assayas said that, initially, Cuban authorities refused to let him shoot “Wasp Network” in the country where, despite...
- 8/31/2019
- by Ryan Lattanzio
- Indiewire
The time has come for Hulu to release its list of everything coming and going in the month of August.
This will come in handy after the “Bachelorette” season finale in late July leaves us in desperate need of something else to watch.
In August, a new episode of Hulu’s horror anthology “Into The Dark” arrives, in which a group of social outcasts who are stuck in weekend detention are confronted by the school’s legendary hauntings.
Also Read: 'Mrs. Maisel' Star Alex Borstein Is Frequently Asked to Sign Plungers, and She Thinks It's Weird
Other Hulu originals include: “The Amazing Johnathan Documentary,” in which a filmmaker profiles a dying magician on his final tour, but the lines between reality and magic begin to blur; Season 2 of “Find Me in Paris,” and “Jawline,” a Hulu original documentary that follows 16-year-old Austyn Tester, a rising star in the live-broadcast ecosystem...
This will come in handy after the “Bachelorette” season finale in late July leaves us in desperate need of something else to watch.
In August, a new episode of Hulu’s horror anthology “Into The Dark” arrives, in which a group of social outcasts who are stuck in weekend detention are confronted by the school’s legendary hauntings.
Also Read: 'Mrs. Maisel' Star Alex Borstein Is Frequently Asked to Sign Plungers, and She Thinks It's Weird
Other Hulu originals include: “The Amazing Johnathan Documentary,” in which a filmmaker profiles a dying magician on his final tour, but the lines between reality and magic begin to blur; Season 2 of “Find Me in Paris,” and “Jawline,” a Hulu original documentary that follows 16-year-old Austyn Tester, a rising star in the live-broadcast ecosystem...
- 8/1/2019
- by Margeaux Sippell
- The Wrap
An embarrassment of riches is presenting tough choices for the group that decides which French film to submit for a foreign language Oscar.
At midpoint, 2019 has already fielded one of the strongest editions for French movies in decades. Celine Sciamma’s “Portrait of a Lady on Fire” and Ladj Ly’s feature debut “Les Miserables,” both of which debuted to rave reviews at this year’s Cannes Film Festival, are among those vying to be selected. They join Francois Ozon’s “By The Grace of God,” the winner of the Berlin’s Silver Bear Award, as the top candidates.
But more titles could join the list of French Oscar contenders. The National Film Board (Cnc), the organization tasked with establishing rules for the selection of French films submitted for Oscar consideration, is revising the guidelines, according to three industry insiders. Most notably, it is now allowing films to have limited,...
At midpoint, 2019 has already fielded one of the strongest editions for French movies in decades. Celine Sciamma’s “Portrait of a Lady on Fire” and Ladj Ly’s feature debut “Les Miserables,” both of which debuted to rave reviews at this year’s Cannes Film Festival, are among those vying to be selected. They join Francois Ozon’s “By The Grace of God,” the winner of the Berlin’s Silver Bear Award, as the top candidates.
But more titles could join the list of French Oscar contenders. The National Film Board (Cnc), the organization tasked with establishing rules for the selection of French films submitted for Oscar consideration, is revising the guidelines, according to three industry insiders. Most notably, it is now allowing films to have limited,...
- 7/1/2019
- by Elsa Keslassy and Brent Lang
- Variety Film + TV
Juliette Binoche as “Selena” in Olivier Assayas’s Non-Fiction. Courtesy of IFC Films. A Sundance Selects Release.
Juliette Binoche stars as an actress married to an editor at a distinguished French publishing house, in writer/director Olivier Assayas’s latest film Non-fiction. Assayas is known for smart, emotionally sharp dramatic films such as The Clouds Of Sils Maria and Personal Shopper, but in Non-fiction, he takes a lighter, comic approach, while still having something smart and sly to say about contemporary life.
In Non-fiction, the discussions focus on books and publishing but whether it is a sex comedy with commentary on the future of literature and publishing, or a commentary on that with a side of sex comedy, isn’t really clear. Nor does it matter. Either way, the film is a delight – assuming you like both French bedroom comedy and witty conversations about the future for books in a digital world.
Juliette Binoche stars as an actress married to an editor at a distinguished French publishing house, in writer/director Olivier Assayas’s latest film Non-fiction. Assayas is known for smart, emotionally sharp dramatic films such as The Clouds Of Sils Maria and Personal Shopper, but in Non-fiction, he takes a lighter, comic approach, while still having something smart and sly to say about contemporary life.
In Non-fiction, the discussions focus on books and publishing but whether it is a sex comedy with commentary on the future of literature and publishing, or a commentary on that with a side of sex comedy, isn’t really clear. Nor does it matter. Either way, the film is a delight – assuming you like both French bedroom comedy and witty conversations about the future for books in a digital world.
- 6/14/2019
- by Cate Marquis
- WeAreMovieGeeks.com
“Frankie,” by the American writer-director Ira Sachs, is a tiny little trinket of a film. It’s like an elegant bracelet that’s modest enough to go unnoticed, but nevertheless reveals a quietly exquisite beauty to those who are willing to lean in and look closer (even if they have to squint). In other words, it’s an Ira Sachs movie, only more so. But in this one, that bracelet is being worn by Isabelle Huppert, and it fits on her wrist like a second skin.
Sachs has always been a storyteller who doesn’t create his characters so much as he observes them from a safe but intimate distance — watching them the way you might catch yourself staring at a stranger on a crowded subway train — and his recent movies have earned him a reputation for making gentle human dramas that seem more like snapshots than full-sized portraits; even...
Sachs has always been a storyteller who doesn’t create his characters so much as he observes them from a safe but intimate distance — watching them the way you might catch yourself staring at a stranger on a crowded subway train — and his recent movies have earned him a reputation for making gentle human dramas that seem more like snapshots than full-sized portraits; even...
- 5/20/2019
- by David Ehrlich
- Indiewire
Discussions of eternal virtues between characters with self-made problems, their self-articulated solutions and delusionary implementations, the real pitter-patter of the intelligentsia, fill up Non-Fiction, the new film from Olivier Assayas. Now the doyen of widely distributed art-house cinema, Assayas’s long and protean career has covered the waterfront of cinematic genres: the period piece (Sentimental Destinies), the inside-showbiz drama (Irma Vep and Clouds of Sils Maria), youthful romance (Cold Water and Something in the Air), the ghost story (Personal Shopper), a scuzzy espionage thriller (Demonlover), and, with Late August, Early September and Non-Fiction, two takes on the literary world. This genre globetrotting is indicative of Assayas’s lifelong closeness with cinema. Born to a screenwriter father in 1955, Assayas began as critic for Cahiers du cinéma in the late-70s and became a scriptwriter for André Techiné in the mid-80s before embarking on his long career directing features. His worldview...
- 5/15/2019
- MUBI
Telluride and Toronto documentary The Biggest Little Farm by John Chester reaped a solid start over the weekend with the best per theater average in the three-day. The Neon release grossed an estimated $101K in five theaters, averaging $20,202. The PTA is the highest of Neon’s three 2019 non-fiction releases, though Apollo 11 went out in a comparatively wider 120 locations in its debut for $1.6M in its launch weekend, averaging $13,929. Apollo 11 has totaled $8.64M.
Amazing Grace played a December weekend in three theaters before its April start for the title’s regular theatrical run. It has cumed $3.28M to date.
Kenneth Branagh-directed historical drama All Is True bowed in four theaters for $46,809 in four locations, averaging $11,702, the second best of the specialty reporting specialty newcomers. Other debuts had below five-figure PTAs. Kino Lorber’s Pasolini starring Willem Dafoe played...
Amazing Grace played a December weekend in three theaters before its April start for the title’s regular theatrical run. It has cumed $3.28M to date.
Kenneth Branagh-directed historical drama All Is True bowed in four theaters for $46,809 in four locations, averaging $11,702, the second best of the specialty reporting specialty newcomers. Other debuts had below five-figure PTAs. Kino Lorber’s Pasolini starring Willem Dafoe played...
- 5/12/2019
- by Brian Brooks
- Deadline Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSTo commemorate the 20th anniversary of In The Mood For Love, Wong Kar-wai has confirmed plans to release 4K restorations of all of his films—including the currently out-of-print Chungking Express!—for a theatrical tour in 2020. Recommended VIEWINGWe adored Bruno Dumont's Jeannette, the musical vision of Joan of Arc's childhood. Naturally we're delighted by this first trailer for the Cannes-bound sequel, Joan of Arc.A24 has released the official trailer for Lulu Wang's highly anticipated family drama The Farewell, starring rapper Awkwafina as a woman who returns to China after her grandmother is diagnosed with terminal lung cancer.Recommended READINGLaura Dern in David Lynch's Wild at Heart.In a new interview with the New York Times, Laura Dern discusses the multiplicity and elasticity of her most memorable performances, as well as...
- 5/8/2019
- MUBI
Hopefully the second half of the year will give good box office. Bring it on awards season…
The weekend has been a another slow go. IFC Films’ Non-Fiction by French director Olivier Assayas broke through a bit in two theaters, taking in $29K, averaging $14,528 in the three-day estimate.
Other newcomers that reported Sunday morning were a blip. Well Go USA’s Shadow opened in four locations for $30,100 and documentary Hesburgh, which is a Diy release, took in nearly $68K in 36 theaters, averaging $1,887. Other newcomers including Ask Dr. Ruth from Magnolia did not report numbers as of Sunday morning.
Spc expanded The White Crow to 19 theaters from its opening 5 runs. The bio-drama by Ralph Fiennes grossed an estimated $98,495 in the three-day. Venice doc Carmine Street Guitars went into its second frame for $5,430 in 2 theaters, averaging $2,715.
[Updated]:
Non-Fiction is the second American release for French actor Juliette Binoche this spring.
The weekend has been a another slow go. IFC Films’ Non-Fiction by French director Olivier Assayas broke through a bit in two theaters, taking in $29K, averaging $14,528 in the three-day estimate.
Other newcomers that reported Sunday morning were a blip. Well Go USA’s Shadow opened in four locations for $30,100 and documentary Hesburgh, which is a Diy release, took in nearly $68K in 36 theaters, averaging $1,887. Other newcomers including Ask Dr. Ruth from Magnolia did not report numbers as of Sunday morning.
Spc expanded The White Crow to 19 theaters from its opening 5 runs. The bio-drama by Ralph Fiennes grossed an estimated $98,495 in the three-day. Venice doc Carmine Street Guitars went into its second frame for $5,430 in 2 theaters, averaging $2,715.
[Updated]:
Non-Fiction is the second American release for French actor Juliette Binoche this spring.
- 5/5/2019
- by Brian Brooks
- Deadline Film + TV
Several well-received and highly anticipated new limited releases debuted this week, with Olivier Assayas’ “Non-Fiction” (IFC) opening best. The titles also included the documentaries “Meeting Gorbachev” (1091) and “Ask Dr. Ruth” (Magnolia), as well as Zhang Yimou’s epic “Shadow” (Well Go), but all continued the pattern of an underwhelming 2019 for specialized films.
This weekend also saw two top Sundance titles — “Knocking Down the House” and “Extremely Wicked, Shockingly Evil and Vile” — debut on Netflix, with each getting minimal theatrical play.
Documentaries dominate specialized releases, with “Amazing Grace” (Neon) as the top-grossing title at the moment. “Booksmart” (United Artists) and “Late Show” (Amazon) open soon and both are wide releases that will benefit many specialized theaters. However, that immediately push for crossover audiences shows how challenging it is for key art houses.
Opening
Non-Fiction (IFC) – Metacritic: 81; Festivals include: Venice, Telluride, Toronto, New York 2018
$29,056 in 2 theaters; PTA (per theater average): $14,528
French...
This weekend also saw two top Sundance titles — “Knocking Down the House” and “Extremely Wicked, Shockingly Evil and Vile” — debut on Netflix, with each getting minimal theatrical play.
Documentaries dominate specialized releases, with “Amazing Grace” (Neon) as the top-grossing title at the moment. “Booksmart” (United Artists) and “Late Show” (Amazon) open soon and both are wide releases that will benefit many specialized theaters. However, that immediately push for crossover audiences shows how challenging it is for key art houses.
Opening
Non-Fiction (IFC) – Metacritic: 81; Festivals include: Venice, Telluride, Toronto, New York 2018
$29,056 in 2 theaters; PTA (per theater average): $14,528
French...
- 5/5/2019
- by Tom Brueggemann
- Indiewire
The French Publisher’s Wife: Assayas Straddles Digital Criminals and Corporate Cannibals in Playful Bon Mot
Hardly a stranger to the back room wheeling and dealing of industry, whether it’s the faux porn producers at the heart of Demonlover (2002), high fashion’s supporting players in 2016’s Personal Shopper (which also examines how modern technology dictates our lives) or the internecine fall-out between an actress and her assistant in Clouds of Sils Maria (review), Olivier Assayas applies his interests in publishing with his latest film Non-Fiction. A behind-the-scenes portrait of an industry still struggling to transition between digital and print, Assayas collaborates for the third time with Juliette Binoche, starring as a successful television actress as equally uncertain of her future as her publisher husband is of his.…...
Hardly a stranger to the back room wheeling and dealing of industry, whether it’s the faux porn producers at the heart of Demonlover (2002), high fashion’s supporting players in 2016’s Personal Shopper (which also examines how modern technology dictates our lives) or the internecine fall-out between an actress and her assistant in Clouds of Sils Maria (review), Olivier Assayas applies his interests in publishing with his latest film Non-Fiction. A behind-the-scenes portrait of an industry still struggling to transition between digital and print, Assayas collaborates for the third time with Juliette Binoche, starring as a successful television actress as equally uncertain of her future as her publisher husband is of his.…...
- 5/4/2019
- by Nicholas Bell
- IONCINEMA.com
Now 90, Dr. Ruth Westheimer had resisted past overtures to do a documentary, but she was won over by filmmaker Ryan White. Ask Dr. Ruth, which premiered at the Sundance Film Festival in January, opens in theaters this weekend via Magnolia Pictures after screening at Tribeca Film Festival this week. The theatrical run comes ahead of its Hulu bow in June. 1091 Media, formerly The Orchard, is opening fellow Tribeca doc, Meeting Gorbachev by Werner Herzog and André Singer. Venice, Toronto, Telluride & Nyff title, Non-Fiction, by Olivier Assayas and starring Juliette Binoche opens in select locations on the coasts Friday, while Good Deed Entertainment has Tell It to the Bees with Anna Paquin and Holliday Grainger in select cities around the country. Also on tap is Patrick Creadon doc Hesburgh, a self-release, in 30-plus markets this weekend.
Also opening in limited release is Briarcliff Entertainment’s El Chicano by Ben Hernandez Bray...
Also opening in limited release is Briarcliff Entertainment’s El Chicano by Ben Hernandez Bray...
- 5/3/2019
- by Brian Brooks
- Deadline Film + TV
Juliette Binoche stars in Olivier Assayas’ exploration of love, the Internet, and the death of literature.
Following the more esoteric but still pointed concerns of his last two films, Clouds of Sils Maria and Personal Shopper, French auteur Olivier Assayas heads into surprisingly straightforward territory with Non-Fiction. The director takes an almost traditional approach in following the lives of two couples--a high-end book editor named Alain (Guillaume Canet) and his actress wife Selena (Juliette Binoche), along with novelist Leonard (Vincent Macaigne) and his political consultant partner Valerie (Nora Hamzawi)--as their lives entwine around each other both professionally and romantically.
As the film opens, Alain delivers the bad news to Leonard that he is not going to publish his new novel, the latest in a long line of thinly disguised roman à clefs about Leonard’s own affairs. What Alain doesn’t know -- or perhaps he does--is that the...
Following the more esoteric but still pointed concerns of his last two films, Clouds of Sils Maria and Personal Shopper, French auteur Olivier Assayas heads into surprisingly straightforward territory with Non-Fiction. The director takes an almost traditional approach in following the lives of two couples--a high-end book editor named Alain (Guillaume Canet) and his actress wife Selena (Juliette Binoche), along with novelist Leonard (Vincent Macaigne) and his political consultant partner Valerie (Nora Hamzawi)--as their lives entwine around each other both professionally and romantically.
As the film opens, Alain delivers the bad news to Leonard that he is not going to publish his new novel, the latest in a long line of thinly disguised roman à clefs about Leonard’s own affairs. What Alain doesn’t know -- or perhaps he does--is that the...
- 5/2/2019
- Den of Geek
"More people read my blog than my books," decries one of the characters in Olivier Assayas's latest film, Non-Fiction. The response from another is, that those blog readers are more likely than anyone else to buy those books. And a third response, people just like free stuff. After the one-two punch of visually adroit films showcasing the talents of Kristen Stewart, Assayas returns to a more conversational, ensemble, approach here. His upper-middle class characters sit around at dinner parties having conversations, take working meetings in cafes, or are cheating on one another. It is all very French. It would be easy to dismiss Non-Fiction on the basis of its subject matter. The characters, who work in book publishing, television and politics, spend the bulk of...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/2/2019
- Screen Anarchy
"Was that a period film?" asked a bemused friend after watching Olivier Assayas's new film. It is not, but set in the small, elite milieu of French book publishing and stuffed with references to digital strategy, blogs, Twitter, and e-books, Non-Fiction is set precariously on a cutting edge of cultural evolution whose talking points were outdated before the film was even finished. But that matters little to the thrust of this fun little comedy, which for all its bantering discussion between publishers, authors, and their wives and girlfriends about the current state of this particular industry, is above all about the flux of time that catches everything in its current, whether it is culture, economics, or people.Guillaume Canet plays the immaculately genteel, effortlessly haughty editor of a publishing house; Juliette Binoche his wife and an actress who, in a gesture to the rapid changes occurring across the arts,...
- 5/2/2019
- MUBI
Talk. Talk. Talk. That’s what goes on in Non-Fiction, the new comedy of surprising gravity from writer-director Olivier Assayas (Clouds of Sils Maria, Irma Vep). Oh, but what talk: a tumble of words flowing from a master. There’s sex, of course. — Non-Fiction is a French film — but in this look at the publishing world in the age of the digital invasion, Assayas is laughing on the edge of an abyss.
The film plunges us into a meeting that cool, collected publisher, Alain (Guillaume Canet), is having with an...
The film plunges us into a meeting that cool, collected publisher, Alain (Guillaume Canet), is having with an...
- 5/2/2019
- by Peter Travers
- Rollingstone.com
Filmmaker Olivier Assayas is one of the best in the world, without a doubt. The French writer-director has a filmography filled with quality projects, including recent entries like “Personal Shopper,” “Carlos,” “Clouds of Sils Maria,” and “Something in the Air.” But for decades, Assayas has been delighting film fans with his incredible works. And his most recent, “Non-Fiction,” is finally hitting theaters in the Us after a successful run during last year’s fall film festival circuit.
Continue reading ‘Non-Fiction’ Exclusive Clip: Juliette Binoche & Others Debate The Merits Of Adult Coloring Books In Filmmaker Olivier Assayas’ Latest at The Playlist.
Continue reading ‘Non-Fiction’ Exclusive Clip: Juliette Binoche & Others Debate The Merits Of Adult Coloring Books In Filmmaker Olivier Assayas’ Latest at The Playlist.
- 4/29/2019
- by Charles Barfield
- The Playlist
‘Non-Fiction’ (‘Doubles Vies’ or its English translation ‘Double Lives) would be better entitled ‘Sex, Lies and Literature’.
[Contains spoilers]
According to its director, Olivier Assayas,
Our world keeps changing. It always has been. The challenge is our ability to keep an eye on that flux and to understand what is truly at stake in order to adapt, or not. After all, this is what politics and opinions are about.
As Assayas inserts politics and definitely inserts opinions in this fast-talking comedy about very French intellectual sophisticates today we are speedily swept into a romp about love and sex.
The digitization of our world and its reconfiguration into algorithms is the modern vector of a change that confuses and overwhelm us. Digital economy infringes rules and often laws. Moreover, it questions what seemed solid and granted in society. Yet, it dissolves on mere contact.
Everyone is “oh so at ease” as French intellectuals...
[Contains spoilers]
According to its director, Olivier Assayas,
Our world keeps changing. It always has been. The challenge is our ability to keep an eye on that flux and to understand what is truly at stake in order to adapt, or not. After all, this is what politics and opinions are about.
As Assayas inserts politics and definitely inserts opinions in this fast-talking comedy about very French intellectual sophisticates today we are speedily swept into a romp about love and sex.
The digitization of our world and its reconfiguration into algorithms is the modern vector of a change that confuses and overwhelm us. Digital economy infringes rules and often laws. Moreover, it questions what seemed solid and granted in society. Yet, it dissolves on mere contact.
Everyone is “oh so at ease” as French intellectuals...
- 4/15/2019
- by Sydney Levine
- Sydney's Buzz
This week, IndieWire will be rolling out our annual Summer Preview, including offerings that span genres, niche offerings for dedicated fans, a closer look at festival favorites finally headed to a theater near you, and plenty of special attention to all the new movies you need to get through a jam-packed summer movie-going season.
Check back throughout the week for a new look at the best the season has to offer, and clear your schedule, because we’re going to fill it right up.
Today — 25 indie standouts and festival favorites bound for a big screen near you.
“Knock Down the House,” May 1
No one would believe the ending of Rachel Lears’ “Knock Down the House” if it wasn’t splashed all over the news months ago, but that doesn’t mean it doesn’t land with a gut punch and more than a few tears. Originally imagined — and, as evidenced by a successful Kickstarter campaign,...
Check back throughout the week for a new look at the best the season has to offer, and clear your schedule, because we’re going to fill it right up.
Today — 25 indie standouts and festival favorites bound for a big screen near you.
“Knock Down the House,” May 1
No one would believe the ending of Rachel Lears’ “Knock Down the House” if it wasn’t splashed all over the news months ago, but that doesn’t mean it doesn’t land with a gut punch and more than a few tears. Originally imagined — and, as evidenced by a successful Kickstarter campaign,...
- 4/9/2019
- by Kate Erbland, Eric Kohn, Anne Thompson, Christian Blauvelt, David Ehrlich, Chris O'Falt, Zack Sharf, Jude Dry, Tambay Obenson and Michael Nordine
- Indiewire
This year’s FilMart marks the international sales debut of Beijing-based distributor Times Vision, which brings to Hong Kong a slate led by crime thriller “Savage” and animated feature “Nezha.” The company will be presenting nine live action films, including one documentary, and seven animated titles.
Times Vision is led by CEO Nathan Hao, who co-founded Chinese indie distributor Lemon Tree and led its international division before joining the newly established Times Vision in 2017. Times Vision imports foreign titles – primarily arthouse films, but it also has begun delving into the remake rights market – and is now getting into production as well. It is currently at work with Chinese partners on pre-production for a remake of 2016 Japanese Oscar entry “Her Love Boils Water.”
“We are famous for being good buyers of festival titles,” Hao told Variety. “Tvod is a new thing for Chinese audiences for foreign films. Streaming is a better...
Times Vision is led by CEO Nathan Hao, who co-founded Chinese indie distributor Lemon Tree and led its international division before joining the newly established Times Vision in 2017. Times Vision imports foreign titles – primarily arthouse films, but it also has begun delving into the remake rights market – and is now getting into production as well. It is currently at work with Chinese partners on pre-production for a remake of 2016 Japanese Oscar entry “Her Love Boils Water.”
“We are famous for being good buyers of festival titles,” Hao told Variety. “Tvod is a new thing for Chinese audiences for foreign films. Streaming is a better...
- 3/17/2019
- by Rebecca Davis
- Variety Film + TV
Following Summer Hours and Clouds of Sils Maria, Juliette Binoche has reteamed with Olivier Assayas’s Non-Fiction (aka Double Vies), which jumps from conversation to conversation about technology’s influence on the world of book publishing (a clear-eyed metaphor for the director’s view of shifting landscape of cinema). After playing at Venice, Tiff, Nyff, and more, the film will arrive this May and now the U.S. trailer has landed.
Leonardo Goi said in his review,”Who needs a middle man’s subjectivity when you have algorithms predicting what people will like? Critics don’t matter much in Olivier Assayas’ talkative Non-Fiction, but they are not the only supposedly anachronistic relic to be thrown out of the window in this gentle and profoundly compassionate human comedy that draws from the ever-widening rift between old and new trends in the publishing industry to conjure up a tale of societal changes...
Leonardo Goi said in his review,”Who needs a middle man’s subjectivity when you have algorithms predicting what people will like? Critics don’t matter much in Olivier Assayas’ talkative Non-Fiction, but they are not the only supposedly anachronistic relic to be thrown out of the window in this gentle and profoundly compassionate human comedy that draws from the ever-widening rift between old and new trends in the publishing industry to conjure up a tale of societal changes...
- 3/7/2019
- by Jordan Raup
- The Film Stage
"Some people write feel-good books. I write feel-bad books." Sundance Selects (via IFC Films) has debuted the first official Us trailer for the intellectual indie comedy Non-Fiction, the latest from acclaimed French filmmaker Olivier Assayas. The film premiered at the Venice Film Festival last year under the French title Doubles Vies, which translates to Double Lives, a reference to the characters in the film being writers who live "double lives" through their work. Set in the Parisian publishing world, an editor and an author find themselves in over their heads, as they cope with a middle-age crisis, the changing industry and their wives. This stars Guillaume Canet, Juliette Binoche, Vincent Macaigne, Christa Théret, Nora Hamzawi, and Pascal Greggory. I saw this in Venice and it's a fun one, will really kick your brain into high gear thinking about all that it discusses. Here's the official Us trailer (+ French poster) for...
- 3/7/2019
- by Alex Billington
- firstshowing.net
Six months after its premiere at the Venice Film Festival, “Non-Fiction” has a trailer to accompany its warm reviews. “Clouds of Sils Maria” collaborators Olivier Assayas and Juliette Binoche reunited for the heady drama, which finds its leading lady discussing literature with Guillame Canet in Paris. Avail yourself of the trailer below.
Here’s the synopsis: “Juliette Binoche and Guillame Canet reunite with acclaimed director Olivier Assayas for this wry, slyly seductive tale of sex, lies, and literature. Set amidst the bohemian intelligentsia of the Parisian publishing world, ‘Non-Fiction’ traces the romantic and emotional fallout that results when a controversial writer (Vincent Macaigne) begins blurring the line between fact and fiction, using his real-life love affairs — including a passionate fling with an actress (Binoche) who happens to be married to his editor (Canet) — as fodder for his explosive new novel.”
In his Venice review of “Non-Fiction,” IndieWire’s David Ehrlich...
Here’s the synopsis: “Juliette Binoche and Guillame Canet reunite with acclaimed director Olivier Assayas for this wry, slyly seductive tale of sex, lies, and literature. Set amidst the bohemian intelligentsia of the Parisian publishing world, ‘Non-Fiction’ traces the romantic and emotional fallout that results when a controversial writer (Vincent Macaigne) begins blurring the line between fact and fiction, using his real-life love affairs — including a passionate fling with an actress (Binoche) who happens to be married to his editor (Canet) — as fodder for his explosive new novel.”
In his Venice review of “Non-Fiction,” IndieWire’s David Ehrlich...
- 3/7/2019
- by Michael Nordine
- Indiewire
After bouncing back in 2017, the overseas box office revenue of French movies plummeted by 51% to 237 million euros ($270 million) with 40 million admissions sold, a 52% year-on drop, in 2018.
The provisional box office figures were unveiled by UniFrance during a reception hosted at France’s culture minister during which Eric Toledano and Olivier Nakache, the directors of “The Intouchables” and most recently “C’est La Vie” received the French Cinema Award.
Co-produced and sold by Gaumont, “C’est La Vie” grossed over 15 million overseas and was the second biggest French hit in international markets in 2018, following the EuropaCorp-produced “Taxi 5,” an action-packed film directed by Franck Gastambide.
The other French films ranking in the top 10 of 2018 include Dany Boon’s “La Ch’tite Famille” (Pathé), “Belle and Sebastian, Friends for Life” (Gaumont), the animated film “White Fang” (Sc Films International), “Rolling to You” (Gaumont), “Big Bad Fox & Other Tales” (StudioCanal), “The Young Karl Marx...
The provisional box office figures were unveiled by UniFrance during a reception hosted at France’s culture minister during which Eric Toledano and Olivier Nakache, the directors of “The Intouchables” and most recently “C’est La Vie” received the French Cinema Award.
Co-produced and sold by Gaumont, “C’est La Vie” grossed over 15 million overseas and was the second biggest French hit in international markets in 2018, following the EuropaCorp-produced “Taxi 5,” an action-packed film directed by Franck Gastambide.
The other French films ranking in the top 10 of 2018 include Dany Boon’s “La Ch’tite Famille” (Pathé), “Belle and Sebastian, Friends for Life” (Gaumont), the animated film “White Fang” (Sc Films International), “Rolling to You” (Gaumont), “Big Bad Fox & Other Tales” (StudioCanal), “The Young Karl Marx...
- 1/17/2019
- by Elsa Keslassy
- Variety Film + TV
Wasp Network
French auteur Olivier Assayas (partner to Mia Hansen-Løve who we find on our list as well) shows no signs of slowing down with his seventeenth narrative feature Wasp Network, a tale of five Cuban spies working in a Florida based terrorist organization with consent of the Us government. Before 2018’s Non-Fiction now titled Double Lives (read review) even had the chance to premiere in competition at Venice, Assayas was putting together the project at last year’s Cannes Film Festival, eventually assembling a starry cast which includes Pedro Pascal, Penelope Cruz, Wagner Moura, Gael Garcia Bernal, and Edgar Ramirez (who headlined Assayas’ 2010 series “Carlos”).…...
French auteur Olivier Assayas (partner to Mia Hansen-Løve who we find on our list as well) shows no signs of slowing down with his seventeenth narrative feature Wasp Network, a tale of five Cuban spies working in a Florida based terrorist organization with consent of the Us government. Before 2018’s Non-Fiction now titled Double Lives (read review) even had the chance to premiere in competition at Venice, Assayas was putting together the project at last year’s Cannes Film Festival, eventually assembling a starry cast which includes Pedro Pascal, Penelope Cruz, Wagner Moura, Gael Garcia Bernal, and Edgar Ramirez (who headlined Assayas’ 2010 series “Carlos”).…...
- 1/8/2019
- by Nicholas Bell
- IONCINEMA.com
The English Patient actress to oversee international jury at the 69th edition of the festival.
Juliette Binoche will serve as president of the international jury at the 69th Berlin International Film Festival.
The Chocolat actress has appeared in more than 70 films. She won both the Berlin Silver Bear, Bafta and an Oscar for her performance in Anthony Minghella’s The English Patient.
Her recent credits include Claire Denis’s High Life and Olivier Assayas’s Double Lives.
Last year’s Berlin jury was led by German director Tom Tykwer – they awarded the Golden Bear to Adina Pintilie’s Touch Me Not.
Juliette Binoche will serve as president of the international jury at the 69th Berlin International Film Festival.
The Chocolat actress has appeared in more than 70 films. She won both the Berlin Silver Bear, Bafta and an Oscar for her performance in Anthony Minghella’s The English Patient.
Her recent credits include Claire Denis’s High Life and Olivier Assayas’s Double Lives.
Last year’s Berlin jury was led by German director Tom Tykwer – they awarded the Golden Bear to Adina Pintilie’s Touch Me Not.
- 12/11/2018
- by Tom Grater
- ScreenDaily
Olivier Assayas is one of those filmmakers that we will give a shot, no matter the film. Over the years, he’s put together an incredible filmography of acclaimed titles, such as “Personal Shopper,” “Clouds of Sils Maria,” “Carlos,” and “Summer Hours.” And just recently, his latest film, “Non-Fiction” debuted at the Venice Film Festival and is receiving pretty great reviews.
Continue reading Penélope Cruz, Gael Garcia Bernal & Wagner Moura Join Filmmaker Olivier Assayas’ ‘The Wasp Network’ at The Playlist.
Continue reading Penélope Cruz, Gael Garcia Bernal & Wagner Moura Join Filmmaker Olivier Assayas’ ‘The Wasp Network’ at The Playlist.
- 9/5/2018
- by Charles Barfield
- The Playlist
Olivier Assayas’ Paris-set bittersweet comedy “Double Lives,” starring Juliette Binoche, has lured a raft of buyers ahead of its world premiere on Friday in competition at Venice.
The film screened for the press on Thursday and earned a good word-of-mouth. Repped and co-produced by Playtime, “Double Lives” (previously titled “Non-Fiction”) has been acquired for Switzerland (Agora), Canada (Axia), Spain (B-Team), Latin America (California Filmes), Korea (Cineblooming), China (Times Vision) Grece (Weird Wave), Italy (I Wonder), Portugal (Leopardo Filmes), Sweden (Triart) and Turkey (FilmArty).
The film, which marks Assayas’ follow-up to Kristen Stewart starrer “Personal Shopper,” was recently picked up by IFC for Sundance Selects for the U.S.
“Olivier Assayas is a world-renowned director and one of the handful of European filmmakers who has a name abroad,” said Nicolas Brigaud-Robert, Playtime’s co-founder.
“Double Lives” explores the rapidly changing world of book publishing through the relationship between an editor (Guillaume Canet...
The film screened for the press on Thursday and earned a good word-of-mouth. Repped and co-produced by Playtime, “Double Lives” (previously titled “Non-Fiction”) has been acquired for Switzerland (Agora), Canada (Axia), Spain (B-Team), Latin America (California Filmes), Korea (Cineblooming), China (Times Vision) Grece (Weird Wave), Italy (I Wonder), Portugal (Leopardo Filmes), Sweden (Triart) and Turkey (FilmArty).
The film, which marks Assayas’ follow-up to Kristen Stewart starrer “Personal Shopper,” was recently picked up by IFC for Sundance Selects for the U.S.
“Olivier Assayas is a world-renowned director and one of the handful of European filmmakers who has a name abroad,” said Nicolas Brigaud-Robert, Playtime’s co-founder.
“Double Lives” explores the rapidly changing world of book publishing through the relationship between an editor (Guillaume Canet...
- 9/1/2018
- by Elsa Keslassy
- Variety Film + TV
Olivier Assayas crafts films of marvelous depths, simultaneously cinematic and literary in the richness of their pleasures, where the words people speak — and they can speak a lot — are only part of the picture. As much as Assayas enjoys verbal tangos, he demands that his audience pay attention to the footwork, to the foundations generating the words. Breaking from the style of recent successes “Clouds of Sils Maria” and “Personal Shopper,” his latest, “Non-Fiction,” harks back to some of the director’s more openly philosophical earlier works. Yet this story of two couples dealing with change in their personal and professional lives, so packed with intellectual sparring, gets progressively lighter as it moves along, acknowledging the primacy of human interaction (foibles and all) over doctrine. It’s also full of humor, which will help sell the picture to critics and viewers hungry for smart French fare.
Assayas immediately plunges us...
Assayas immediately plunges us...
- 8/31/2018
- by Jay Weissberg
- Variety Film + TV
It’s difficult to ask hard questions about change and technology and progress — particularly to consider whether “progress” is actually progress or not — without sounding like a cranky old man, but writer-director Olivier Assayas has now done it twice. 2008’s “Summer Hours” contemplated a world in which new generations seemed uninterested in preserving art history and cultural treasures of the past, and now a decade later, with “Non-Fiction,” he asks similarly pointed questions about the future of books and literature in the internet age.
That he does so with a minimum of breast-beating and a surfeit of sparkling wit no doubt helps the message go down, particularly since it’s clear that he’s not offering answers but instead merely asking the questions.
The film introduces us to a group of friends, lovers and colleagues, all of whom engage in spirited conversations about the state of writing, acting and politics,...
That he does so with a minimum of breast-beating and a surfeit of sparkling wit no doubt helps the message go down, particularly since it’s clear that he’s not offering answers but instead merely asking the questions.
The film introduces us to a group of friends, lovers and colleagues, all of whom engage in spirited conversations about the state of writing, acting and politics,...
- 8/31/2018
- by Alonso Duralde
- The Wrap
Several decades into the digital revolution, there’s still a twinge of discomfort whenever new work from a major auteur dares to invoke the internet. Even worse: when it does so by name. Facebook. YouTube. Snapchat. Such vulgar things become virtually unavoidable in any movie that’s about the modern world, but the transience of social media remains hard to reconcile with the timelessness of great cinema. It’s the residue of a cannon that’s loaded with dead men and often pointing backward, the legacy of a pantheon that tends to regard modernity as more of an existential threat than a tool at its disposal.
It’s also why Olivier Assayas’ sly and delightful “Non-Fiction” (née “E-book”) feels like such a lark at first — like a master filmmaker clearing his throat between more significant projects. That’s exactly what Assayas wants you to think.
It’s one thing when...
It’s also why Olivier Assayas’ sly and delightful “Non-Fiction” (née “E-book”) feels like such a lark at first — like a master filmmaker clearing his throat between more significant projects. That’s exactly what Assayas wants you to think.
It’s one thing when...
- 8/31/2018
- by David Ehrlich
- Indiewire
After an unexpectedly invigorating “Kristen Stewart in Europe” detour (Clouds of Sils Maria and Personal Shopper), Olivier Assayas, that most restless, cosmopolitan, border-defying of French directors, is back with a film that, on paper, seems tres français: a comedy of art, adultery and midlife crises set in the Parisian publishing world.
But while the characters and milieu in Non-Fiction (premiering in Venice before moving on to Telluride, Tiff and Nyff) are Gallic through and through, Assayas’ gaze remains, as ever, fixed outward. The filmmaker’s interest in the forces of globalization — a thematic through-line in a body of work ...
But while the characters and milieu in Non-Fiction (premiering in Venice before moving on to Telluride, Tiff and Nyff) are Gallic through and through, Assayas’ gaze remains, as ever, fixed outward. The filmmaker’s interest in the forces of globalization — a thematic through-line in a body of work ...
- 8/31/2018
- The Hollywood Reporter - Film + TV
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