The filmmaker’s biggest strides came from the publication of the screenplay in McSweeney’s, a grant from the San Francisco Film Society, and participation in the Sundance Institute’s labs. In the midst all that, however, Riley found himself engaged in “speed dating” with potential investors at Ifp’s Project Forum in 2015, when the screenplay was featured in the No Borders International Co-Production Market.
Gaspar Noé’s Climax, Xavier Legrand’s Custody and the late Claude Lanzmann’s last film The Four Sisters are among the films on the short list to be France’s Foreign Language submission will be announced tomorrow (September 21).
A committee overseen by France’s National Cinema Centre (Cnc) will audition the producers and sales agents of the five pre-selected candidates tomorrow morning.
The other two films in the running are Emmanuel Mouret’s Mademoiselle de Joncquières and Emmanuel Finkiel’s Memoir Of Pain.
Continue reading ‘True Detective’ Helmer Cary Joji Fukunaga Replaces Danny Boyle On ‘Bond 25’ at The Playlist.
The BFI has announced three finalists for the Iwc Schaffhausen Filmmaker Bursary Award, which comes with a £50,000 grant.
This year’s final three are: Richard Billingham, writer-director of Ray And Liz; Harry Wootliff, writer-director of Only You; and Nicole Taylor, writer of Wild Rose.
The award is designed ‘to support the future careers of exceptional new British film talent’; all three finalists will play at the upcoming BFI London Film Festival.
The winner will be announced on Tuesday October 9 at the Iwc gala dinner, chosen
The firm is a subsidiary of mini-conglomerate mm2 Asia, which currently has a 49% holding. That position will fall to 42% and leading individual shareholders Charles Yeo and Jay Hong be diluted from 16% each to 13% each.
The new shares are being sold at S$0.25 apiece. At that price the enlarged company will have a market capitalization of $61.4 (S$84 million).
Vividthree has produced effects for local movies including “Ah Boys to Men,” “Ah Boys to Men II” and “Ah Boys to Men 3 – Frogmen.” It is also involved in a large-scale 360-degree dome projection mapping project, “The Future of Us,” a futuristic multi-sensory experiential exhibition.
The company say that most of the fresh cash will be used for working capital, while about a third will be deployed for purchases of
After 20 years, the shaggy-dog-stoner La noir that could be the Coens’ comic masterpiece rolls back on to the big screen, as light and insouciant as the tumbleweed from the old west that drifts incongruously up to the city in the opening sequence. In fact, after two decades, the film looks weirdly less shaggy, less dishevelled to me: sleeker, sharper, more integrated and with more menace, more mystery. (I found myself thinking of Thomas Pynchon and Lynch’s Mulholland Drive). Sam Elliott’s basso profundo narrator, topping and tailing the action and appearing enigmatically in the middle, creates a fascinating residue of unease. But there are just as many laughs.
Our sub-Chandleresque hero is Jeffrey “The Dude” Lebowski, unforgettably played by Jeff Bridges: a younger or more lightweight actor would have made this character seem merely silly.
Danny Boyle’s replacement as director of the 25th James Bond film has been named as Cary Fukunaga. In a statement released on Thursday, producers confirmed the hire of the Beasts of No Nation film-maker, saying:
“We are delighted to be working with Cary. His versatility and innovation make him an excellent choice for our next James Bond adventure.”
American director Cary Joji Fukunaga will direct Bond 25, the producers announced this morning (September 20).
The film will begin production at the UK’s Pinewood Studios on March 4 2019, with a worldwide release date of February 14, 2020. The release date was previously set for October 25, 2019 in the UK.
The news was revealed via tweets posted to the James Bond Twitter account.
Michael G. Wilson, Barbara Broccoli and Daniel Craig announced today that #Bond25 will begin filming at Pinewood Studios on 4 March 2019 under the helm of director, Cary Joji Fukunaga with a worldwide release date of 14 February 2020. (1/2) pic.
BTeam Pictures, the distribution arm of BTeamProds, one of the film’s producers, will release “Between Two Waters” in Spanish theaters on Nov. 30.
Written by Lacuesta, Isa Campo, also “Between Two Waters” producer, and Fran Araujo, “Between Two Waters” reprises the two gypsy brother characters and actors Isra and Cheito of “The Legend of Time,” Lacuesta’s second feature which won him a staunch supporters among some critics, Spain’s “El Pais” calling it a “miracle.”
“Expectations are high as ‘The Legend of Time’ was deeply appreciated by the press and audience alike when released 12 years ago and Lacuesta’s latest film, Goya winner ‘The Next Skin,
Fukunaga, who won acclaim for 2015 war film “Beasts of No Nation,” replaces Danny Boyle, who exited the project last month over creative differences with producers Barbara Broccoli and Michael G. Wilson and returning star Daniel Craig.
“We are delighted to be working with Cary,” Broccoli and Wilson said on Twitter. “His versatility and innovation make him an excellent choice for our next James Bond adventure.”
Fukunaga won an Emmy in 2014 for helming the entire first season (eight episodes) of “True Detective” and giving the crime series a cinematic look. More recently, he directed multiple episodes of Netflix’s “Maniac,” a new half-hour comedy show starring Emma Stone and Jonah Hill.
Director James Gray will head the Competition jury for the 2018 Marrakech International Film Festival.
The event, which started in 2001, returns to the festival calendar after taking a year off in 2017 to “reflect on its editorial line”.
The Competition selection will consist of 14 first and second films chosen by a programming committee headed by artistic director Christoph Terhechte, who joined in June.
The top prize, the Golden Star - Grand Prix, comes with a cash prize of $50,000. Other prizes include the jury prize, best actor, best actress and best director.
Gray, who directed Little Odessa,
Mike Leigh is one of the country’s most beloved and respected film-makers. A versatile and humanist director, he has explored themes as diverse as camping holidays in Nuts in May (1976), middle-class soirees in Abigail’s Party (1977), adoption and class in Secrets & Lies (1996), illegal abortion in Vera Drake (2004), unusual driving lessons in Happy-Go-Lucky (2008), and, in 2014’s Mr Turner, the final years of the Romantic painter.
Related: Mike Leigh's Peterloo: first trailer for drama about the notorious massacre
Director Yony Leyser calls queercore “a farce that became real”, while film-maker Bruce Labruce labels it a respite for “the fringe of the fringe”.
Labruce is uniquely qualified to make his claim. Thirty years ago, he and fellow Toronto artist Gb Jones started what later became known as queercore, a fake movement that somehow morphed into a genuine one. “People thought that Toronto was the center of this hardcore movement,” says Labruce in a new documentary directed by Leyser titled Queercore: How To Punk A Revolution. “But it was just me and two women who sat in their basement and churned out alternative publications and experimental movies.”
Sam Shephard makes his final screen appearance in this flawed, but intriguing and often very disturbing work from film-maker Camille Thoman – surveillance thriller and noir nightmare, combined.
He plays Paul Stark, a New York art dealer who is representing and indeed having an affair with Miranda Fall (Mireille Enos), a fashionable young conceptual artist with a critically acclaimed but scandalous new installation currently on show. Miranda had discovered someone’s mobile phone in the street, and used all the photos in it as an exhibition devoted to this total stranger, meditating on the mystery of identity. The victim himself is of course astonished and furious, and shows up angrily on the opening night, creating a miasma of unease.
There’s a wonderful warmth and playful indirectness to this essay/road movie in the classic nouvelle vague spirit, conjuring a semi-accidental narrative in the midst of what is ostensibly a documentary.
It is a collaboration between the legendary 90-year-old director Agnès Varda and the 35-year-old French street artist who styles himself simply Jr and always wears a hat and dark glasses, indoors and out – an opaque mannerism, almost a disguise, which Varda compares to her old comrade Jean-Luc Godard, and which irritates her a little bit.
This season of “The Sinner” began with a boy murdering two people who appeared to be his parents and then concluded by upending the picture-perfect image of a man who was supposed to be a model father. The challenges of parenting, the hopes a parent has for their offspring, and the ways in which children could be damaged by those who raise them all came to a head in the finale, which exposed a few more secrets while still leaving some lingering questions.
Perhaps the most horrifying revelations, however, involved Marin (Hannah Gross), whom last we saw dead from a gunshot wound on the grounds of the First Nations reservation. It turns out that she had met up with Jack (Tracy Letts), the father of her former best friend and cop Heather (Natalie Paul). An argument and struggle ensued, and her gun went off, accidentally killing her.
But Winogrand turned that tradition into something that could spin your head with its verité virtuosity. Beginning in the mid-’50s, he took his camera out into the New York streets and came back with images that were so suffused with the life unfolding in front of him that those images may
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