Sony Pictures Classics art heist caper The Duke, Neon’s tender Petite Maman, and Charlotte from Good Deed Films, an animated biopic with mature themes, open an eclectic specialty weekend ready to draw older crowds if they’re ready to return.
Younger demos are back when they like the pic, as per A24s Everything Everywhere All At Once. Families also, based on Sonic The Hedgehog 2. With CinemaCon opening Monday to set the theatrical table for the rest of 2022 and beyond, NATO chief John Fithian predicts the reluctance of the 35 to 40+ crowd is “definitely going to change.”
“I think the growth is going to come as much from smaller budget films as from blockbusters,” he tells Deadline ahead of the first full-blown confab of exhibitors, studios and indie distributors since Covid. Audiences that have stayed the most at home are “the most excited about coming back out,” he said.
Younger demos are back when they like the pic, as per A24s Everything Everywhere All At Once. Families also, based on Sonic The Hedgehog 2. With CinemaCon opening Monday to set the theatrical table for the rest of 2022 and beyond, NATO chief John Fithian predicts the reluctance of the 35 to 40+ crowd is “definitely going to change.”
“I think the growth is going to come as much from smaller budget films as from blockbusters,” he tells Deadline ahead of the first full-blown confab of exhibitors, studios and indie distributors since Covid. Audiences that have stayed the most at home are “the most excited about coming back out,” he said.
- 4/22/2022
- by Jill Goldsmith
- Deadline Film + TV
What would you do for a habanero-orange compact sport utility vehicle? Blowing as many balloons as possible in one minute seems like an easy enough task, but what about fetching a human earlobe? These are the questions at the heart of “Stanleyville,” or at least they seem to be. In reality, director Maxwell McCabe-Lokos’ debut feature uses the bizarre “platinum-level exclusive contest” at its center as a metaphor for self-actualization — even if achieving it requires more than a little self-destruction along the way. With a firm commitment to its alluringly offbeat premise and a grounding lead performance from Susanne Wuest, this indie oddity is an enjoyable descent into the absurd despite an apparent lack of interest in answering most of the questions it raises.
If a bird colliding with a window in the opening moments isn’t enough to suggest that something strange is afoot, the fact that “The Lord...
If a bird colliding with a window in the opening moments isn’t enough to suggest that something strange is afoot, the fact that “The Lord...
- 4/20/2022
- by Michael Nordine
- Variety Film + TV
If a dead ringer for Sparks brother Ron Mael walked up to you at a shopping mall while you were sitting in a massage chair and contemplating the sad inertia of your existence and, with great excitement, announced that you had been chosen from among hundreds of millions of people to participate in a unique competition designed to “probe the very essence of mind-body articulation” — well, you’d probably be willing to entertain his sales pitch. Maria (“Goodnight Mommy” star Susanne Wuest) hangs on every word, as if she’s been waiting to hear them for her entire adult life.
Yes, “Squid Game” essentially started the same way, but the 40-something woman at the heart of Maxwell McCabe-Lokos’ “Stanleyville” doesn’t seem like she’s up to speed on the latest Netflix shows. She was born into one of those deadpan cities that filmmakers always use to satirize the absurdity...
Yes, “Squid Game” essentially started the same way, but the 40-something woman at the heart of Maxwell McCabe-Lokos’ “Stanleyville” doesn’t seem like she’s up to speed on the latest Netflix shows. She was born into one of those deadpan cities that filmmakers always use to satirize the absurdity...
- 4/20/2022
- by David Ehrlich
- Indiewire
I'n sure many of us have had that moment (maybe several times) when we want to throw in the towel and walk away from our lives: our jobs, our disappointing partners (and maybe kids), who just seem to be stuck in the rut that you need to get out of. But not all of us are then approached by an odd stranger offering us an orange Habanero SUV in exchange for participating in a contect whose details are kept hidden. So perhaps not all of us can find a rather bizarre path to enlightment via balloons and sea shell transmitters. Stanleyville, the feature debut of actor/filmmaker Maxwell McCabe-Lokos, is a film that falls quite squarely in the 'weird and quirky' category: perhaps slightly fantastical, definitely...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 4/20/2022
- Screen Anarchy
Oscilloscope Laboratories has snagged North American rights to Helmut Dosantos’ documentary “Gods of Mexico,” an exploration of the rich diversity of indigenous and Afro-descendant communities across Mexico.
The film had its world premiere at this year’s True/False Film Festival.
Hailed as “a tribute to those who fight to preserve their cultural identity amidst the shadows of modernization,” Dosantos transports audiences “through salt pans, deserts, highlands, jungle, and underground mines, in both richly saturated color and black-and-white melodic interludes.”
The “ethnographic portrait offers a critical consideration of values and challenges structures that breed displacement,” the synopsis reads.
Commented O-Scope’s Dan Berger: “’Gods of Mexico’ is inarguably one of the most astonishing filmic experiences I’ve had.” “The imagery is beyond stunning and the dialogue-free (but far from silent) soundtrack is utterly immersive,” he said, adding: “And this says nothing about the access that Helmut was able to...
The film had its world premiere at this year’s True/False Film Festival.
Hailed as “a tribute to those who fight to preserve their cultural identity amidst the shadows of modernization,” Dosantos transports audiences “through salt pans, deserts, highlands, jungle, and underground mines, in both richly saturated color and black-and-white melodic interludes.”
The “ethnographic portrait offers a critical consideration of values and challenges structures that breed displacement,” the synopsis reads.
Commented O-Scope’s Dan Berger: “’Gods of Mexico’ is inarguably one of the most astonishing filmic experiences I’ve had.” “The imagery is beyond stunning and the dialogue-free (but far from silent) soundtrack is utterly immersive,” he said, adding: “And this says nothing about the access that Helmut was able to...
- 4/6/2022
- by Anna Marie de la Fuente
- Variety Film + TV
We at ScreenAnarchy are suckers for a good poster, and certainly the poster for Stanleyville certainly fits that bill. The feature directorial debut of Canadian actor Maxwell McCabe-Lokos has its world premiere at Fantasia this weekend, and this intriguing poster, designed by Aleksander Walijewski, just dropped. Prim and proper Maria Barbizan (Susanne Wuest of Goodnight Mommy) unceremoniously walks away from her boring job, her inept husband, and her obnoxious daughter. Moments later, she is swept up in a bizarre contest alongside a handful of idiosyncratic characters, all competing for the chance to win true enlightenment… and one slightly used habanero-orange compact sport utility vehicle. My thoughts first turn to the use of the bubble in comics as dialogue placement, then to the symbolism of balloons,...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/12/2021
- Screen Anarchy
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