Bilal Hasna is transforming into Layla, the title drag queen in Amrou Al-Kadhi’s feature directorial debut.
“3 Body Problem” star Hasna leads “Layla,” which centers on an eponymous British-Palestinian drag queen in London who falls in love with an advertising executive (Louis Greatorex), all while navigating their identity around family and friends. Think a modern-day, queer take on “Romeo & Juliet.”
The British indie film had its world premiere at the Sundance Film Festival and later opened the BFI Flare: London Lgbtiq+ Film Festival. “Layla” also screened at the London Film Festival and Newfest.
Director Al-Kadhi previously worked as a drag performer before becoming a filmmaker. Al-Kadhi acted in Steven Spielberg’s “Munich,” “Venom: Let There Be Carnage,” “The Souvenir: Part II,” and “American Horror Stories.” They helmed shorts “Anemone,” “Run(a)Way Arab,” “Clash,” and “Define Gender: Victoria Sin” before making their feature debut with “Layla.”
IndieWire’s...
“3 Body Problem” star Hasna leads “Layla,” which centers on an eponymous British-Palestinian drag queen in London who falls in love with an advertising executive (Louis Greatorex), all while navigating their identity around family and friends. Think a modern-day, queer take on “Romeo & Juliet.”
The British indie film had its world premiere at the Sundance Film Festival and later opened the BFI Flare: London Lgbtiq+ Film Festival. “Layla” also screened at the London Film Festival and Newfest.
Director Al-Kadhi previously worked as a drag performer before becoming a filmmaker. Al-Kadhi acted in Steven Spielberg’s “Munich,” “Venom: Let There Be Carnage,” “The Souvenir: Part II,” and “American Horror Stories.” They helmed shorts “Anemone,” “Run(a)Way Arab,” “Clash,” and “Define Gender: Victoria Sin” before making their feature debut with “Layla.”
IndieWire’s...
- 10/16/2024
- by Samantha Bergeson
- Indiewire
Mubi has acquired several territories including UK on Ariane Labed’s directorial debut September Says, which had its world premiere in Cannes’ Un Certain Regard section in May.
Mubi has picked up the film for the UK, Germany, Austria and Turkey, with Volta Pictures acquiring all rights for Ireland. The Match Factory, which is owned by Mubi, handles international sales on the title.
The film follows two sisters – one who is suspended from school, leading to the other exploring her own independence and creating tension on a holiday in Ireland. Mia Tharia, Pascale Kann and Rakhee Thakrar star in the film.
Mubi has picked up the film for the UK, Germany, Austria and Turkey, with Volta Pictures acquiring all rights for Ireland. The Match Factory, which is owned by Mubi, handles international sales on the title.
The film follows two sisters – one who is suspended from school, leading to the other exploring her own independence and creating tension on a holiday in Ireland. Mia Tharia, Pascale Kann and Rakhee Thakrar star in the film.
- 9/23/2024
- ScreenDaily
“The Eternal Daughter” filmmaker Joanna Hogg is returning to the Venice Film Festival, this time, as the jury president for the 21st edition of Giornate degli Autori, also known as Venice Days.
Hogg directed “The Souvenir,” “The Souvenir Part II,” and “The Eternal Daughter,” which debuted in competition at Venice in 2022. She previously served on the 2020 Venice Film Festival jury when Cate Blanchett was president. Now, Hogg succeeds Portuguese filmmaker João Pedro Rodríguez in the role of Giornate degli Autori jury president.
The 2024 Venice Film Festival celebrates the 10th anniversary of the GdA Director’s Award, bestowed to one of 10 films in its competition. The winning film will receive a 20,000 euro cash prize, which will be split equally between the director and the international distributor who will use the 10,000 euro to promote the film.
“What could be more fun and stimulating than watching films and sharing ideas with a jury of young cinephiles,...
Hogg directed “The Souvenir,” “The Souvenir Part II,” and “The Eternal Daughter,” which debuted in competition at Venice in 2022. She previously served on the 2020 Venice Film Festival jury when Cate Blanchett was president. Now, Hogg succeeds Portuguese filmmaker João Pedro Rodríguez in the role of Giornate degli Autori jury president.
The 2024 Venice Film Festival celebrates the 10th anniversary of the GdA Director’s Award, bestowed to one of 10 films in its competition. The winning film will receive a 20,000 euro cash prize, which will be split equally between the director and the international distributor who will use the 10,000 euro to promote the film.
“What could be more fun and stimulating than watching films and sharing ideas with a jury of young cinephiles,...
- 7/26/2024
- by Samantha Bergeson
- Indiewire
Acclaimed British filmmaker Joanna Hogg (The Souvenir, The Eternal Daughter) will head up the jury of the Giornate degli Autori (GdA) sidebar at the upcoming 2024 Venice Film Festival. Hogg will oversee a jury of 27 young European film fans judging the movies of the parallel section, which runs alongside the Venice festival from Aug. 28 to Sept. 7. The jury will pick the section’s GdA Director’s Award.
“Throughout her cinematic journey, Hogg has examined the human soul, family and sentimental relationships with rare precision, psychological depth and authenticity,” said GdA artistic director Gaia Furrer. “Hers is an implosive cinema, as Martin Scorsese, who produced Hogg’s last three films, defined it: A cinema capable of bringing to light truths that are often uncomfortable or unspeakable.”
Hogg is best known for her pair of autobiographical dramas, The Souvenir (2019) and The Souvenir: Part II (2021), the first of which premiered in Sundance, the second in Cannes.
“Throughout her cinematic journey, Hogg has examined the human soul, family and sentimental relationships with rare precision, psychological depth and authenticity,” said GdA artistic director Gaia Furrer. “Hers is an implosive cinema, as Martin Scorsese, who produced Hogg’s last three films, defined it: A cinema capable of bringing to light truths that are often uncomfortable or unspeakable.”
Hogg is best known for her pair of autobiographical dramas, The Souvenir (2019) and The Souvenir: Part II (2021), the first of which premiered in Sundance, the second in Cannes.
- 7/26/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
UK filmmaker Joanna Hogg is to be president of Venice parallel section Giornate degli Autori, running from August 28-September 7.
The jury consists of 10 former participants of the European young cinephile 27 Times Cinema programme. Jury heads in recent years have included João Pedro Rodrigues, Céline Sciamma, Mina Mileva, Vesela Kazakova and Nadav Lapid.
The jury decides the winner of a cash prize of €20,000, to be split equally between the filmmaker and the film’s international distributor.
Once again, the jury sessions will be coordinated by Karel Och, artistic director of the Karlovy Vary Film Festival.
The Quay Brothers’ Sanatorium Under The Sign Of The Hour Glass,...
The jury consists of 10 former participants of the European young cinephile 27 Times Cinema programme. Jury heads in recent years have included João Pedro Rodrigues, Céline Sciamma, Mina Mileva, Vesela Kazakova and Nadav Lapid.
The jury decides the winner of a cash prize of €20,000, to be split equally between the filmmaker and the film’s international distributor.
Once again, the jury sessions will be coordinated by Karel Och, artistic director of the Karlovy Vary Film Festival.
The Quay Brothers’ Sanatorium Under The Sign Of The Hour Glass,...
- 7/26/2024
- ScreenDaily
UK director and screenwriter Joanna Hogg has been announced as jury president of Venice parallel section Giornate degli Autori (GdA), running from August 28, to September 7.
She will preside over a jury of 27 young European cinephiles attending GdA under the auspices of the 27 Times Cinema program, a joint initiative organized by the independent sidebar, the European Parliament’s Lux Audience Award and Europa Cinemas
This jury decides the GdA Director’s Award, the sidebar’s only official prize, under the coordination of Karlovy Vary International Film Festival (Kviff) director Karel Och.
The €20,000 cash prize is split equally between the director and the international distributor, who commits to using the sum received to promote the film.
“What could be more fun and stimulating than watching films and sharing ideas with a jury of young cinephiles” said Hogg, “I thank the Giornate degli Autori for inviting me to what I anticipate will be...
She will preside over a jury of 27 young European cinephiles attending GdA under the auspices of the 27 Times Cinema program, a joint initiative organized by the independent sidebar, the European Parliament’s Lux Audience Award and Europa Cinemas
This jury decides the GdA Director’s Award, the sidebar’s only official prize, under the coordination of Karlovy Vary International Film Festival (Kviff) director Karel Och.
The €20,000 cash prize is split equally between the director and the international distributor, who commits to using the sum received to promote the film.
“What could be more fun and stimulating than watching films and sharing ideas with a jury of young cinephiles” said Hogg, “I thank the Giornate degli Autori for inviting me to what I anticipate will be...
- 7/26/2024
- by Melanie Goodfellow
- Deadline Film + TV
Joe Alwyn has been the center of much media attention in the last few years. That may be news if you’ve been living in a hermetically sealed bunker. But outside that particular and unsolicited spotlight, the dandyish 33-year-old British actor has carved his name out in films from idiosyncratic auteurs. There was Joanna Hogg’s “The Souvenir Part II” as a grieving and queer-flirting film editor; Claire Denis’ sensuous 2022 Cannes Grand Prix winner “Stars at Noon” as a Brit adrift in Nicaragua having lots of sex with Margaret Qualley’s character; and most recently “Kinds of Kindness,” whose director Yorgos Lanthimos he previously starred for as a lusty baron in “The Favourite.”
Alwyn is back this year at Cannes in three roles in “Kinds of Kindness,” co-written with Lanthimos by his friend and “Alps” and “The Lobster” collaborator Efthimis Flippou. Which means we are very much in the mode of old-school Lanthimos,...
Alwyn is back this year at Cannes in three roles in “Kinds of Kindness,” co-written with Lanthimos by his friend and “Alps” and “The Lobster” collaborator Efthimis Flippou. Which means we are very much in the mode of old-school Lanthimos,...
- 5/20/2024
- by Ryan Lattanzio
- Indiewire
Cailey Fleming in If Image: Paramount Pictures Children’s films are always positioned to memorialize the imaginative worlds in our heads, acting as shrines to those places that shrink as real life constricts us, growing more abrasive and demanding. On the surface, writer/director John Krasinski’s If is destined...
- 5/16/2024
- by Anna McKibbin
- avclub.com
Cailey Fleming in IFImage: Paramount Pictures
Children’s films are always positioned to memorialize the imaginative worlds in our heads, acting as shrines to those places that shrink as real life constricts us, growing more abrasive and demanding. On the surface, writer/director John Krasinski’s If is destined to...
Children’s films are always positioned to memorialize the imaginative worlds in our heads, acting as shrines to those places that shrink as real life constricts us, growing more abrasive and demanding. On the surface, writer/director John Krasinski’s If is destined to...
- 5/16/2024
- by Anna McKibbin
- avclub.com
Getting a feature into Cannes’ official selection is among the pinnacles of filmmaking achievements for most production companies. Ireland’s Element Pictures clearly isn’t most production companies — this year, it has three.
According to co-founder Ed Guiney, who set up Element with Andrew Lowe in 2001, while his company’s triple-headed festival visit may be “wonderful”, it’s simply down to good fortune and timing. “You know, some years you have nothing for Cannes,” he says, speaking from Element’s breezy, white-walled Dublin headquarters, located above an outdoor clothing shop and a jeweler on the Irish capital’s busy O’Connell Street, where it also runs its distribution arm Volta Pictures and the programming for the popular arthouse Light House Cinema, which it has operated since 2012.
But for anyone who has been keeping an eye on Element over the last decade, this edition of Cannes is merely another unprecedented milestone...
According to co-founder Ed Guiney, who set up Element with Andrew Lowe in 2001, while his company’s triple-headed festival visit may be “wonderful”, it’s simply down to good fortune and timing. “You know, some years you have nothing for Cannes,” he says, speaking from Element’s breezy, white-walled Dublin headquarters, located above an outdoor clothing shop and a jeweler on the Irish capital’s busy O’Connell Street, where it also runs its distribution arm Volta Pictures and the programming for the popular arthouse Light House Cinema, which it has operated since 2012.
But for anyone who has been keeping an eye on Element over the last decade, this edition of Cannes is merely another unprecedented milestone...
- 5/14/2024
- by Alex Ritman
- Variety Film + TV
Exclusive:f David Laub, a longtime distribution executive at A24, is joining Metrograph to build a new slate of theatrical releases as head of Metrograph Pictures, a label that’s been focused mainly on restorations of classic films.
Laub will consider American independent, international and documentary features, both finished films and earlier stage projects to potentially provide financing. The company is aiming to get to 10 releases a year.
“We are excited to work with a wide range of films and filmmakers, and be a robust new presence in the distribution landscape,” said Laub, who will hit the ground for Metrograph at the upcoming Berlinale and European Film Market next week.
It’s not an easy time for indie film distribution. Metrograph in is announcement said the industry “in dire need of fresh thinking and inventive distribution options.”
Laub will report to and work closely with Metrograph CEO Christian Grass, who joined...
Laub will consider American independent, international and documentary features, both finished films and earlier stage projects to potentially provide financing. The company is aiming to get to 10 releases a year.
“We are excited to work with a wide range of films and filmmakers, and be a robust new presence in the distribution landscape,” said Laub, who will hit the ground for Metrograph at the upcoming Berlinale and European Film Market next week.
It’s not an easy time for indie film distribution. Metrograph in is announcement said the industry “in dire need of fresh thinking and inventive distribution options.”
Laub will report to and work closely with Metrograph CEO Christian Grass, who joined...
- 2/6/2024
- by Jill Goldsmith
- Deadline Film + TV
The Big Screen Awards unveils Best British Film shortlist, Breakthrough actor and filmmaker nominees
Aimee Lou Wood for ‘Living’, ‘Rye Lane’ team and ‘Aftersun’ director Charlotte Wells among the nominees
The Big Screen Awards can unveil the shortlists for best British film as well as the nominees for breakthrough British actor and filmmaker.
The nominees for British film, which will be decided by a public vote, include Martin McDonagh’s The Banshees Of Inisherin, Matthew Warchus’s Roald Dahl’s Matilda The Musical and Sam Mendes’ Empire Of Light.
Vote for Best British Film of the Year here
Also among the nominees is Charlotte Wells’ Aftersun and Raine Allen-Miller’s Rye Lane – both of...
The Big Screen Awards can unveil the shortlists for best British film as well as the nominees for breakthrough British actor and filmmaker.
The nominees for British film, which will be decided by a public vote, include Martin McDonagh’s The Banshees Of Inisherin, Matthew Warchus’s Roald Dahl’s Matilda The Musical and Sam Mendes’ Empire Of Light.
Vote for Best British Film of the Year here
Also among the nominees is Charlotte Wells’ Aftersun and Raine Allen-Miller’s Rye Lane – both of...
- 10/11/2023
- by Ellie Calnan
- ScreenDaily
UK Sundance title ‘Scrapper’ starts out for Picturehouse Entertainment.
Disney’s performing arts comedy Theater Camp and Universal comedy-horror The Blackening will look to end the five-week run of Barbie atop the UK-Ireland box office, with Oppenheimer also threatening to take top spot following strong holds.
Opening in 352 cinemas, Theater Camp is a comedy about the eccentric staff of a rundown theatre camp in upstate New York, who must band with the founder’s son to keep the facility afloat.
Directed by Molly Gordon and Nick Lieberman in their feature directorial debuts, it debuted at Sundance Film Festival in January,...
Disney’s performing arts comedy Theater Camp and Universal comedy-horror The Blackening will look to end the five-week run of Barbie atop the UK-Ireland box office, with Oppenheimer also threatening to take top spot following strong holds.
Opening in 352 cinemas, Theater Camp is a comedy about the eccentric staff of a rundown theatre camp in upstate New York, who must band with the founder’s son to keep the facility afloat.
Directed by Molly Gordon and Nick Lieberman in their feature directorial debuts, it debuted at Sundance Film Festival in January,...
- 8/25/2023
- by Ben Dalton
- ScreenDaily
The downturn is mainly in high-end TV, with UK studios expecting US studio tentpoles to keep on rolling.
Alarm is mounting about the impact on production in the UK and Northern Ireland of the ongoing Writers’ Guild of America (WGA) strike and the threat of industrial action by US actors’ union SAG-AFTRA.
The sector has been rocked by the halt in production at Amazon Studios’ Blade Runner 2099 series which was prepping at Belfast Harbour Studios. It is unlikely to resume production until 2024.
UK suppliers and service companies have told Screen that they are already being affected by the strikes and facing a quiet summer.
Alarm is mounting about the impact on production in the UK and Northern Ireland of the ongoing Writers’ Guild of America (WGA) strike and the threat of industrial action by US actors’ union SAG-AFTRA.
The sector has been rocked by the halt in production at Amazon Studios’ Blade Runner 2099 series which was prepping at Belfast Harbour Studios. It is unlikely to resume production until 2024.
UK suppliers and service companies have told Screen that they are already being affected by the strikes and facing a quiet summer.
- 5/26/2023
- by Geoffrey Macnab
- ScreenDaily
Archipelago (2010).On a pleasant afternoon in the Isles of Scilly, a family stand to have a photograph taken. Of the two grown-up children, their mother, and her friend, only the blond, curly-haired son has his face fully in the sunshine; he squints in the light. Edward, one of the central characters in Joanna Hogg’s second feature Archipelago (2010), is different from his mother Patricia and her sister Cynthia. He has “too much empathy,” according to his mother, and “always in an accusatory way,” his sister adds with a sneer. Virtuous Edward is about to go on a gap year to Africa, in that vague way that a gap year so often seems to be blithely to the continent rather than a particular place within it. Until then, he is spending some time with his family in an agreeably beige and blue country retreat, which is complete with a professional cook,...
- 1/23/2023
- MUBI
How did this emotional sketch become a movie? Tilda Swinton and Joanna Hogg, born on March 20, 1960 in London, England, UK and known for writing and directing The Souvenir (2019), The Souvenir: Part II (2021) and Unrelated (2007), all produced by Emma Norton of Jwh Films, are favored by the charmed circle of rich white seemingly heterosexual men like Martin Scorsese (Sikelia Productions), David Fenkel and Daniel Katz (A24), and British vet producer Ed Guiney (Element Pictures). This is all conjuncture on my part, as it was when I wrote about the deal behind Triangle of Sadness, but the sketchiness of this and the formulaic quality of Triangle, coupled with the stellar names of those involved in the production lead me to believe there was more to the making of the movie deal than there is to the movie itself. In The Eternal Daughter, these men have chosen to celebrate womanhood as expressed by a particular female filmmaker as she attempts to create a story about herself and her mother plus one kindly black bereaved man played by Joseph Mydell (there is a hint of something about slavery here) and a cold modern young woman played by Carly-Sophia Davies whose heart also melts at the pathos of the celebate and lonely filmmaker, who actually is not pathetic but apparently just creatively alive. Watch the trailer here and then watch the movie and judge for yourself: https://www.imdb.com/title/tt13874422/?ref_=fn_al_tt_1 Together these men must have brought the film to Kristin Irving of the BBC where it got made, somewhat along the same lines as highly touted The Souvenir which landed BBC Films with funds from BFI Film Fund and was also produced by Jwh Films, again in association with Scorsese’s incubator Sikelia. This time Protagonist Pictures was the international sales agent and A24 only distributed in North America. Its sequel, The Souvenir Part II stars real-life mother and daughter Tilda Swinton and Honor Swinton Byrne, a conceit which perhaps gave life to the idea of another mother-and-daughter movie in which both roles are played by Tilda Swinton and which was made by the same team plus Ed Guiney of Element Pictures. A24 has now taken on both international sales and US rights. All of these films must have made 2 cents at the box office. What’s up? What is Tilda Swinton herself up to these days? Her previous film Three Thousand Years of Yearning by stalwart filmmaker George Miler sold to more interternational distributors in 2021 and 2022 than the Jwh films did, but it still must not have fared much better at the box office. (Read my blon on that here.) The short by Almodovar, The Human Voice, was a little gem, showing off Swinton’s accomplished acting skills as she enacted the remake of Cocteau’s The Human Voice under strict Covid protocols. But none of these reaches the new heights always expected of her…We’ll see what her next four films The End (pre-production) by Joshua Oppenheimer, Asteroid City (post-production) by Wes Anderson, The Killer (post-production) by David Fincher, and an Untitled Julio Torres Project (post-production) bring to the audiences who eagerly await whatever she does (count me among them). The Eternal Daughter has been described as a mystery drama and as a ghost story about “a middle-aged daughter and her elderly mother who confront long-buried secrets when they return to their former family home, a once-grand manor that has become a nearly vacant hotel brimming with mystery.” But there are no ghosts nor is there much of a mystery beyond why a mother and daughter have an eternal and universal tension between them, as most mothers and daughters do. Nor is the nearly vacant hotel ever revealed to be the ancestral home, nor is there much of a mystery about a banging shutter which keeps Tilda the daughter up at night. And whence cometh the acclaim of Joanna Hogg? Perhaps it was Covid. Dare I argue with the top film festivals and critics whom Rotten Tomatoes scored at 95%? Who are these critics? How many males among them? All Swinton has to do is attach her name to a project and it will be made — with male money. The film does truly touch emotions felt by every daughter trying to hard to please a mother who cannot express her own desires or her own heartfelt love for her daughter. But this situation makes the daughter seem pathetic except in her own creative mind as she grapples with the dilemna of The Eternal Duaghter. But what is the story here? That a writer’s imagination trumps reality? Are we so starved for emotional experiences that such a sketch brings us to tears? Am I horribly out of touch with the universe? Another film which touches this same raw nerve is Charlotte Wells’ Aftersun. Where have I gone wrong? Compare this to Eo, a film with no ersatz emotion and created to produce an emotion the director Jerzy Skolomowski had not felt since he saw Au Hasard Balthazar in 1966. Read my blog and his quotations. I am longing for the days of Angelopoulos, of Terence Davies or even Peter Greenaway. Give me hard art, not oblique emotional sketches, playing like the little musical phrase that Proust’s Swann held so dear as a reminder of his lost love. Postscript: An interesting article by Carlos Aguilar appeared in the LA Times shortly after I published this. It explains the long friendship between Tilda Swinton and Joanna Hogg. At first I thought it negated my negative take on the deal, but on second reading, I decided that it only added another tier to the dealmaking process which is that Tilda swings her own weight and can bring in her friend to the circle of dealmaking whereas before, Hogg remained in the background of the art film world.
- 12/18/2022
- by Sydney
- Sydney's Buzz
Joanna Hogg’s The Eternal Daughter is, among other things, a spiritual sequel to her exquisite recent films The Souvenir (2019) and The Souvenir Part II (2021). Those movies studied a fledgling filmmaker named Julie Hart, who, bearing some autobiographical resemblance to Hogg herself, wound her way through memories of dating a charismatic, troubled drug addict, attending film school in England in the 1980s, and trying to carve out an artistic identity for herself under the conflicted but supportive eye of her parents and friends. In those movies, Julie was played by Honor Swinton Byrne.
- 12/14/2022
- by K. Austin Collins
- Rollingstone.com
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.NEWSGush.The lineup for the 2023 Sundance Film Festival has been announced. Before the festival begins in Park City on January 19, peruse the selection on Notebook—including new films from Ira Sachs, Deborah Stratman (The Illinois Parables), Mary Helena Clark (Figure Minus Fact), and Fox Maxy (F1ght1ng Looks Different 2 Me Now).Victor Erice has just wrapped production on a new film, Cerrar los Ojos, in Granada, Spain, ahead of a 2023 release. This will be his fourth feature, arriving 31 years after 1992’s Dream of Light.The legendary composer Angelo Badalamenti—one of David Lynch’s most important collaborators, and the architect of all of his atmospheres—has died at age 85. In addition to his music with Lynch, Badalamenti worked with artists like Nina Simone,...
- 12/14/2022
- MUBI
Exclusive: Metro International has pre-sold UK rights to feature Late In Summer to Lionsgate UK.
The period drama is due to star Emily Watson (Breaking The Waves) and Adewale Akinnuoye-Agbaje (Farming) alongside Harriet Walter (Succession) who has newly joined the cast.
Set just as WWII draws to a close, the film will chart how a brief encounter leads to a love affair that ignites a dormant passion in a lonely farmer’s wife and an American GI. With the world around them conspiring against their relationship, it’s not long before the realities of their existence force them to make a very difficult decision.
Debbie Gray produces through Genesius Pictures. BAFTA-nominee Timothy Spall (Mr. Turner) has joined as executive producer. Novelist Talitha Stevenson will make her directorial debut from her own script. Her creative team includes revered cinematographer Christopher Doyle (In the Mood For Love...
The period drama is due to star Emily Watson (Breaking The Waves) and Adewale Akinnuoye-Agbaje (Farming) alongside Harriet Walter (Succession) who has newly joined the cast.
Set just as WWII draws to a close, the film will chart how a brief encounter leads to a love affair that ignites a dormant passion in a lonely farmer’s wife and an American GI. With the world around them conspiring against their relationship, it’s not long before the realities of their existence force them to make a very difficult decision.
Debbie Gray produces through Genesius Pictures. BAFTA-nominee Timothy Spall (Mr. Turner) has joined as executive producer. Novelist Talitha Stevenson will make her directorial debut from her own script. Her creative team includes revered cinematographer Christopher Doyle (In the Mood For Love...
- 9/14/2022
- by Andreas Wiseman
- Deadline Film + TV
“The film possessed me.”
That is how Tilda Swinton described how she came to star in “The Eternal Daughter,” her third pairing with director Joanna Hogg, and a sequel to their two previous collaborations, “The Souvenir” and “The Souvenir: Part II.”
The actress’ choice of words is fitting, since the new film is a ghostly, mysterious tale of a filmmaker, Julie, who’s caring for her elderly mother, Rosalind, in their family’s grand home in the country. Swinton reprises her “Souvenir” role as Rosalind and also takes on the role of Julie, who was played in the previous movies by Swinton’s own daughter Honor Swinton Byrne.
During a visit to TheWrap and Shutterstock’s Interview and Portrait Studio at the Toronto Film Festival, Swinton and Hogg discussed “The Eternal Daughter” with TheWrap’s Editor in Chief, Sharon Waxman, explaining that the idea for the film came from a deeply personal place.
That is how Tilda Swinton described how she came to star in “The Eternal Daughter,” her third pairing with director Joanna Hogg, and a sequel to their two previous collaborations, “The Souvenir” and “The Souvenir: Part II.”
The actress’ choice of words is fitting, since the new film is a ghostly, mysterious tale of a filmmaker, Julie, who’s caring for her elderly mother, Rosalind, in their family’s grand home in the country. Swinton reprises her “Souvenir” role as Rosalind and also takes on the role of Julie, who was played in the previous movies by Swinton’s own daughter Honor Swinton Byrne.
During a visit to TheWrap and Shutterstock’s Interview and Portrait Studio at the Toronto Film Festival, Swinton and Hogg discussed “The Eternal Daughter” with TheWrap’s Editor in Chief, Sharon Waxman, explaining that the idea for the film came from a deeply personal place.
- 9/13/2022
- by Missy Schwartz
- The Wrap
Singer Taylor Swift brought ‘All Too Well: The Short Film’ to the Toronto International Film Festival for a discussion in front of scores of fans.
The talk, moderated by TIFF CEO Cameron Bailey, focused on Swift’s directorial process and considering her music from a visual angle. It was also coupled with the first 35mm screening of “All Too Well,” which she wrote, directed, produced and makes an appearance in, reports Variety.
Bailey asked if Swift would be interested in one day making feature films, and she said yes, if she could find the right material.
“I’d love to keep taking baby steps forward,” she said. “And I think that I’m at a place now where the next baby step is not a baby step. It would be committing to making a film. And I feel like I would just absolutely love for the right opportunity to arise because I just absolutely,...
The talk, moderated by TIFF CEO Cameron Bailey, focused on Swift’s directorial process and considering her music from a visual angle. It was also coupled with the first 35mm screening of “All Too Well,” which she wrote, directed, produced and makes an appearance in, reports Variety.
Bailey asked if Swift would be interested in one day making feature films, and she said yes, if she could find the right material.
“I’d love to keep taking baby steps forward,” she said. “And I think that I’m at a place now where the next baby step is not a baby step. It would be committing to making a film. And I feel like I would just absolutely love for the right opportunity to arise because I just absolutely,...
- 9/10/2022
- by Glamsham Bureau
- GlamSham
Taylor Swift fever hit the Toronto Film Festival on Friday night as the singing-songwriting superstar passed through with actress Sadie Sink to present her 10-minute directoral work All Too Well: The Short Film, followed by an hour-long In Conversation event with festival CEO Cameron Bailey.
Fans slept overnight on the pavement outside the TIFF Bell Lightbox theatre in the hope of getting a place via standby, while bars and eateries along the festival’s King Street hub, blasted her classic 2012 track ‘All Too Well’ – which inspired the short.
Taylor Swift fans are taking over #TIFF22 pic.twitter.com/N3bDxzMvTi
— Deadline Hollywood (@Deadline) September 9, 2022
For Swift, the event afforded her an opportunity to give the short work a public screening in its original 35mm format.
“It’s really meaningful to get to present the short film on 35mm because that was how it was originally shot,” Swift said ahead of the screening.
Fans slept overnight on the pavement outside the TIFF Bell Lightbox theatre in the hope of getting a place via standby, while bars and eateries along the festival’s King Street hub, blasted her classic 2012 track ‘All Too Well’ – which inspired the short.
Taylor Swift fans are taking over #TIFF22 pic.twitter.com/N3bDxzMvTi
— Deadline Hollywood (@Deadline) September 9, 2022
For Swift, the event afforded her an opportunity to give the short work a public screening in its original 35mm format.
“It’s really meaningful to get to present the short film on 35mm because that was how it was originally shot,” Swift said ahead of the screening.
- 9/10/2022
- by Melanie Goodfellow
- Deadline Film + TV
In the wake of winning the MTV Video Music Award for video of the year, Taylor Swift brought “All Too Well: The Short Film” to the Toronto International Film Festival on Sept. 9 for a discussion in front of scores of devoted fans. How devoted? The first group to line up arrived at midnight, the second group at 5 a.m. — and they didn’t even have tickets yet, but were hoping that will call would answer their prayers, or that they would catch a glimpse of Swift walking by.
The talk, moderated by TIFF CEO Cameron Bailey, focused on Swift’s directorial process and considering her music from a visual angle. It was also coupled with the first 35mm screening of “All Too Well,” which she wrote, directed, produced and makes an appearance in.
The headline news? Deep into the conversation, Bailey asked if Swift would be interested in one day making feature films,...
The talk, moderated by TIFF CEO Cameron Bailey, focused on Swift’s directorial process and considering her music from a visual angle. It was also coupled with the first 35mm screening of “All Too Well,” which she wrote, directed, produced and makes an appearance in.
The headline news? Deep into the conversation, Bailey asked if Swift would be interested in one day making feature films,...
- 9/10/2022
- by William Earl
- Variety Film + TV
The phrase “Joanna Hogg’s Shutter Island” is not a line that many critics expect to bust out in their lifetimes, but with her sixth feature the British director has made a fascinating foray into genre cinema that, while firmly in keeping with the rest of her quasi-autobiographical works, makes a surprising departure from the upper-middle-class realism of her signature film The Souvenir.
Venice competition entry The Eternal Daughter stays very much in the same social milieu, and reunites Hogg with Tilda Swinton in a dual role, but there is also a tremendous sense of unease here, whether one sees it as a spooky story about a woman’s search for self or what it’s like to book a staycation in the UK these days.
Venice Film Festival 2022 Photos
Swinton plays Julie, a filmmaker who is taking her mother Rosalind (also Swinton) on a birthday trip to an ancestral home,...
Venice competition entry The Eternal Daughter stays very much in the same social milieu, and reunites Hogg with Tilda Swinton in a dual role, but there is also a tremendous sense of unease here, whether one sees it as a spooky story about a woman’s search for self or what it’s like to book a staycation in the UK these days.
Venice Film Festival 2022 Photos
Swinton plays Julie, a filmmaker who is taking her mother Rosalind (also Swinton) on a birthday trip to an ancestral home,...
- 9/6/2022
- by Damon Wise
- Deadline Film + TV
The subject of the ongoing Russian invasion of Ukraine, one of the topics of discussion at the Venice Film Festival, bubbled to the surface again on Tuesday with Oscar-winning British actress Tilda Swinton making a statement with her hair dyed yellow, reports ‘Variety’.
“It’s my honor to wear half of the Ukrainian flag,” Swinton said at the press conference for Joanna Hogg’s ‘The Eternal Daughter’, when complimented on her look by a journalist. The star wore a light blue top, which complements the dark blue of the Ukraine flag.
Shot during lockdown, ‘The Eternal Daughter’ follows an artist and her elderly mother who confront long-buried secrets when they return to a former family home, now a hotel haunted by its mysterious past, notes ‘Variety’.
Swinton plays both mother and daughter. The names of the mother and daughter in the film are Rosalind and Julie, the names for Swinton and her real-life daughter,...
“It’s my honor to wear half of the Ukrainian flag,” Swinton said at the press conference for Joanna Hogg’s ‘The Eternal Daughter’, when complimented on her look by a journalist. The star wore a light blue top, which complements the dark blue of the Ukraine flag.
Shot during lockdown, ‘The Eternal Daughter’ follows an artist and her elderly mother who confront long-buried secrets when they return to a former family home, now a hotel haunted by its mysterious past, notes ‘Variety’.
Swinton plays both mother and daughter. The names of the mother and daughter in the film are Rosalind and Julie, the names for Swinton and her real-life daughter,...
- 9/6/2022
- by Glamsham Bureau
- GlamSham
At a critical moment towards the end of Joanna Hogg’s magnificent “The Souvenir Part II” — the second and supposedly final portion of her self-portrait of an artist — the director’s young avatar is overcome by her frustrations with the student film she’s trying to make (itself an autobiographical story called “The Souvenir”). “I don’t want to see life as it was,” she stresses, “I want to see life as I imagine it to be.” As played by Honor Swinton Byrne, the hurting but headstrong Julie Hart eventually finds a way to do just that, a breakthrough that allows Hogg’s self-reflexive memoir of a movie to follow suit.
Satisfied that she had committed the ecstatic truth of her own story to celluloid in a way that seemed more honest to her than her memories, Hogg apparently decided to see if she could work the same magic on someone else: Her mother.
Satisfied that she had committed the ecstatic truth of her own story to celluloid in a way that seemed more honest to her than her memories, Hogg apparently decided to see if she could work the same magic on someone else: Her mother.
- 9/6/2022
- by David Ehrlich
- Indiewire
There’s always been a haunted mood in Joanna Hogg’s films, felt both in the deceptively mundane domestic rhythms of the likes of “Exhibition” and “Archipelago,” and in the exquisite memory pieces, “The Souvenir” and “The Souvenir Part II.” Like the best and most personal of storytellers—Chantal Akerman comes to mind as a creator with akin sensibilities—Hogg is a filmmaker possessed by the slivers of her recollections.
Continue reading ‘The Eternal Daughter’ Review: Tilda Swinton Carries Dual Roles With Ease In Joanna Hogg’s Atmospheric Drama [Venice] at The Playlist.
Continue reading ‘The Eternal Daughter’ Review: Tilda Swinton Carries Dual Roles With Ease In Joanna Hogg’s Atmospheric Drama [Venice] at The Playlist.
- 9/6/2022
- by The Playlist
- The Playlist
How can women overcome negative perceptions about them disguised as societal ideals? Filmmaker Nathalie Álvarez Mesén presents her own examination of feminine reinvention with “Clara Sola.” The 2021 Cannes Film Festival Directors’ Fortnight selection sees a 40-year-old woman facing what she’s accepted as the norm, and how wrong it can be to give in to those notions.
Read More: Cannes’ Directors’ Fortnight 2021 Lineup Includes ‘The Souvenir Part II,’ The Latest From Clio Barnard, Miguel Gomes & More
Álvarez Mesén — a participant in Berlinale Talents, TIFF Filmmaker Lab, and NYFF Artist Academy — was intent on showcasing patriarchal concepts that move from generation to generation.
Continue reading ‘Clara Sola’ Trailer: A Woman Awakens To Herself In Cannes ’21 Fortnight Selection On July 1 at The Playlist.
Read More: Cannes’ Directors’ Fortnight 2021 Lineup Includes ‘The Souvenir Part II,’ The Latest From Clio Barnard, Miguel Gomes & More
Álvarez Mesén — a participant in Berlinale Talents, TIFF Filmmaker Lab, and NYFF Artist Academy — was intent on showcasing patriarchal concepts that move from generation to generation.
Continue reading ‘Clara Sola’ Trailer: A Woman Awakens To Herself In Cannes ’21 Fortnight Selection On July 1 at The Playlist.
- 6/9/2022
- by Valerie Thompson
- The Playlist
A version of this preview of this year’s Cannes Film Festival lineup appeared in the Cannes edition of TheWrap magazine.
As the film industry — from the mightiest moguls to the scrappiest indie-theater owners — struggles to bring movies and moviegoing back to pre-covid standards, look to this year’s Cannes Film Festival to trumpet the cause, starting with a splashy premiere of “Top Gun: Maverick” that’s clearly meant to send out an international message: “Remember summer movies? You love those. And they’re back!”
Beyond that Paramount blockbuster, Cannes 2022 seems to be delivering more of what the annual event is known for, in the best ways (providing an international platform for some of the world’s greatest films and filmmakers) and in the worst.
Even with its recurring shortcomings, the Cannes lineup provides an impressive menu of titles that cineastes everywhere have been eagerly awaiting, from David Cronenberg’s...
As the film industry — from the mightiest moguls to the scrappiest indie-theater owners — struggles to bring movies and moviegoing back to pre-covid standards, look to this year’s Cannes Film Festival to trumpet the cause, starting with a splashy premiere of “Top Gun: Maverick” that’s clearly meant to send out an international message: “Remember summer movies? You love those. And they’re back!”
Beyond that Paramount blockbuster, Cannes 2022 seems to be delivering more of what the annual event is known for, in the best ways (providing an international platform for some of the world’s greatest films and filmmakers) and in the worst.
Even with its recurring shortcomings, the Cannes lineup provides an impressive menu of titles that cineastes everywhere have been eagerly awaiting, from David Cronenberg’s...
- 5/16/2022
- by Alonso Duralde
- The Wrap
Fremantle has acquired a majority stake in Element Pictures, the production company behind the acclaimed series “Normal People,” the upcoming “Conversations With Friends” and the award winning films “The Favourite” and “Room.”
The deal was spearheaded by Fremantle’s Group COO, and Continental Europe CEO, Andrea Scrosati and Lorenzo De Maio, of De Maio Entertainment. For Fremantle, the acquisition furthers their plans to invest in and develop premium production companies and creative talents from around the world. De Maio Entertainment, a Fremantle-backed company, will be a strategic advisor and partner across Element Pictures’ slate.
Last August, Rtl Group announced its aim to increase Fremantle’s full-year revenue target to €3 billion by 2025. The acquisition of Element Pictures forms part of Fremantle’s wider growth strategy to invest in production companies, content and talent.
Element Pictures is managed by co-founders Ed Guiney and Andrew Lowe, with offices in Dublin, London, and Belfast,...
The deal was spearheaded by Fremantle’s Group COO, and Continental Europe CEO, Andrea Scrosati and Lorenzo De Maio, of De Maio Entertainment. For Fremantle, the acquisition furthers their plans to invest in and develop premium production companies and creative talents from around the world. De Maio Entertainment, a Fremantle-backed company, will be a strategic advisor and partner across Element Pictures’ slate.
Last August, Rtl Group announced its aim to increase Fremantle’s full-year revenue target to €3 billion by 2025. The acquisition of Element Pictures forms part of Fremantle’s wider growth strategy to invest in production companies, content and talent.
Element Pictures is managed by co-founders Ed Guiney and Andrew Lowe, with offices in Dublin, London, and Belfast,...
- 5/10/2022
- by Brian Welk
- The Wrap
Joanna Hogg and Kenneth Branagh join an eminent group of film-makers who have mined their youth for dramatic inspiration
“Write what you know,” students are always told on writing courses, though it’s not advice that should be followed to the letter: fantasy and science fiction would be in a sorry place if everyone complied. Perhaps the past two years of isolation and lockdowns have made everyone more reflective, however, since suddenly any number of established film-makers are returning to their youth for inspiration. Even Steven Spielberg, never previously the most personal of directors, is going autobiographical with his next film, The Fabelmans. Two of this week’s VOD releases, meanwhile, find British film-makers tackling the cine-memoir to very different ends.
Joanna Hogg’s inspired, opalescent The Souvenir Part II sees her continuing the portrait of the artist as a young woman that she began in 2019’s The Souvenir. The...
“Write what you know,” students are always told on writing courses, though it’s not advice that should be followed to the letter: fantasy and science fiction would be in a sorry place if everyone complied. Perhaps the past two years of isolation and lockdowns have made everyone more reflective, however, since suddenly any number of established film-makers are returning to their youth for inspiration. Even Steven Spielberg, never previously the most personal of directors, is going autobiographical with his next film, The Fabelmans. Two of this week’s VOD releases, meanwhile, find British film-makers tackling the cine-memoir to very different ends.
Joanna Hogg’s inspired, opalescent The Souvenir Part II sees her continuing the portrait of the artist as a young woman that she began in 2019’s The Souvenir. The...
- 4/23/2022
- by Guy Lodge
- The Guardian - Film News
A4 presents Kagonada’s second feature After Yang in limited release, the latest in the distributor’s varied indie slate ahead of wide-release horror slasher X on 3/18 and sci-fi adventure Everything Everywhere All At Once on 3/25 — which is also opening SXSW Film Festival.
This is a weekend where The Batman casts a long shadow, but the specialty market is also hungry for new content with moviegoers demonstrably, measurably, more willing to return to theaters in person.
A24 has been a strong voice in the pandemic-scarred cinema landscape. Green Knight, Zola and C’mon, C’mon helped juice the indie box office last year as odd Icelandic horror film Lamb and porno-themed Red Rocket became culty favorites. Other releases included The Humans, The Souvenir: Part II and Saint Maude. The distributor took three Oscar noms with Apple TV+ for The Tragedy of Macbeth. X as well as A24’s upcoming Bodies Bodies Bodies...
This is a weekend where The Batman casts a long shadow, but the specialty market is also hungry for new content with moviegoers demonstrably, measurably, more willing to return to theaters in person.
A24 has been a strong voice in the pandemic-scarred cinema landscape. Green Knight, Zola and C’mon, C’mon helped juice the indie box office last year as odd Icelandic horror film Lamb and porno-themed Red Rocket became culty favorites. Other releases included The Humans, The Souvenir: Part II and Saint Maude. The distributor took three Oscar noms with Apple TV+ for The Tragedy of Macbeth. X as well as A24’s upcoming Bodies Bodies Bodies...
- 3/4/2022
- by Jill Goldsmith
- Deadline Film + TV
The Oscar-nominated “Flee” took home the top prize at the 15th annual Cinema Eye Honors on Tuesday evening at the Museum of the Moving Image in New York.
Going into the evening, Neon and Participant Media’s “Flee” led the field with a total of seven nominations, while “Summer of Soul (…Or When the Revolution Could Not Be Televised)” followed with six.
Filmmaker Cheryl Dunye also received the organization’s legacy award during the ceremony. The director was honored for her landmark 1996 independent feature “The Watermelon Woman.” After accepting the legacy award on stage, Dunye presented the category of audience choice prize.
See the full list of film winners and nominees below.
Outstanding Nonfiction Feature
“Ascension”
“Faya Dayi” (Directed and produced by Jessica Beshir)
“Flee” (Winner)
“The Rescue”
“Summer of Soul”
“The Velvet Underground”
Outstanding Direction
“Ascension”
“Faya Dayi”
“Flee”
“In the Same Breath”
“Procession” (Winner)
“Summer of Soul”
Outstanding...
Going into the evening, Neon and Participant Media’s “Flee” led the field with a total of seven nominations, while “Summer of Soul (…Or When the Revolution Could Not Be Televised)” followed with six.
Filmmaker Cheryl Dunye also received the organization’s legacy award during the ceremony. The director was honored for her landmark 1996 independent feature “The Watermelon Woman.” After accepting the legacy award on stage, Dunye presented the category of audience choice prize.
See the full list of film winners and nominees below.
Outstanding Nonfiction Feature
“Ascension”
“Faya Dayi” (Directed and produced by Jessica Beshir)
“Flee” (Winner)
“The Rescue”
“Summer of Soul”
“The Velvet Underground”
Outstanding Direction
“Ascension”
“Faya Dayi”
“Flee”
“In the Same Breath”
“Procession” (Winner)
“Summer of Soul”
Outstanding...
- 3/2/2022
- by J. Kim Murphy
- Variety Film + TV
Greta Bellamacina (“The Sceptered Isle”) and Amber Anderson (“Peaky Blinders”) have been cast as the dual leads in Jaclyn Bethany’s upcoming feature “Tell That to the Winter Sea.”
Bellamacina and Bethany co-wrote the script, which has a dance narrative.
Los Angeles based choreographer Sadie Wilking, who trained at the London School of Contemporary Dance, will choreograph the film.
“Tell That to the Winter Sea” will explore the intimacy of female friendship with Bellamacina playing bride-to-be Jo while Anderson stars as Scarlet, a former lover and friend.
Set in a British countryhouse the weekend before Jo’s nuptials, the film explores Jo and Scarlet re-connecting as the wedding looms over them, examining both their friendship and their teenage romance, which is only revealed as the film unfolds.
It is set to shoot in the U.K. in spring.
“Tell That to the Winter Sea” is a U.K./U.S.
Bellamacina and Bethany co-wrote the script, which has a dance narrative.
Los Angeles based choreographer Sadie Wilking, who trained at the London School of Contemporary Dance, will choreograph the film.
“Tell That to the Winter Sea” will explore the intimacy of female friendship with Bellamacina playing bride-to-be Jo while Anderson stars as Scarlet, a former lover and friend.
Set in a British countryhouse the weekend before Jo’s nuptials, the film explores Jo and Scarlet re-connecting as the wedding looms over them, examining both their friendship and their teenage romance, which is only revealed as the film unfolds.
It is set to shoot in the U.K. in spring.
“Tell That to the Winter Sea” is a U.K./U.S.
- 2/25/2022
- by K.J. Yossman
- Variety Film + TV
Cannes’ Directors Fortnight, the section running alongside the Cannes Film Festival, is set to change its leadership after the 2022 edition. It will be Paolo Moretti’s third and last edition as artistic director of the program.
The Srf (Société des réalisateurs de films) which is the governing body of Directors Fortnight, announced the news on Feb. 9 and said that more changes are being planned. “The administration board of the Srf wishes to rethink thoroughly Directors’ Fortnight, its name, its singularity, and its strategic and political role.”
Moretti joined Directors’ Fortnight in 2019 from the Roche-sur-Yon Festival, where he had been artistic director since 2014. His exit comes as a surprise and industry insiders said Moretti was hoping to stay for one more edition in 2023. Due to the pandemic, the 2020 edition had to be scrapped. In 2021, Directors’ Fortnight returned with a lineup which included Joanna Hogg’s “The Souvenir Part II,” Clio Barnard...
The Srf (Société des réalisateurs de films) which is the governing body of Directors Fortnight, announced the news on Feb. 9 and said that more changes are being planned. “The administration board of the Srf wishes to rethink thoroughly Directors’ Fortnight, its name, its singularity, and its strategic and political role.”
Moretti joined Directors’ Fortnight in 2019 from the Roche-sur-Yon Festival, where he had been artistic director since 2014. His exit comes as a surprise and industry insiders said Moretti was hoping to stay for one more edition in 2023. Due to the pandemic, the 2020 edition had to be scrapped. In 2021, Directors’ Fortnight returned with a lineup which included Joanna Hogg’s “The Souvenir Part II,” Clio Barnard...
- 2/9/2022
- by Elsa Keslassy
- Variety Film + TV
Italian-born Moretti was the first non-French national to head any Cannes section.
Paolo Moretti will step down as delegate general of Cannes Directors’ Fortnight after its 2022 edition as part of a move to overhaul the 60-year parallel section, its organisers the French Directors Guild announced on Wednesday.
“The board, elected in September 2021, wishes to thoroughly rethink the Directors’ Fortnight, its name, its singularity and its strategic and militant position. As such, and in order to carry out this new project, it will soon be welcoming a new general delegate,” the Srf said in a statement.
“The Srf salutes the work...
Paolo Moretti will step down as delegate general of Cannes Directors’ Fortnight after its 2022 edition as part of a move to overhaul the 60-year parallel section, its organisers the French Directors Guild announced on Wednesday.
“The board, elected in September 2021, wishes to thoroughly rethink the Directors’ Fortnight, its name, its singularity and its strategic and militant position. As such, and in order to carry out this new project, it will soon be welcoming a new general delegate,” the Srf said in a statement.
“The Srf salutes the work...
- 2/9/2022
- by Melanie Goodfellow
- ScreenDaily
For the first time in its nearly hundred-year history, the Academy of Motion Picture Arts and Sciences has nominated the same female filmmaker for the Best Director honors for a second time. Jane Campion, who was previously nominated in the category for 1993’s “The Piano”, picked up a record-breaking second Oscar nom for her work on awards season favorite “The Power of the Dog.”
Campion, long viewed as the frontrunner in this category after picking up a bevy of awards already this season, was also nominated for Best Adapted Screenplay. Campion was also nominated for Best Picture as a producer of “The Power of the Dog.”
Campion will face off against Kenneth Branagh, Ryuske Hamaguchi, Paul Thomas Anderson, and Steven Spielberg in the stacked category.
In the Academy Awards’ 94-year history, only seven women have ever been nominated for Best Director alongside Campion: Lina Wertmüller (1976′s “Seven Beauties”), Sofia Coppola...
Campion, long viewed as the frontrunner in this category after picking up a bevy of awards already this season, was also nominated for Best Adapted Screenplay. Campion was also nominated for Best Picture as a producer of “The Power of the Dog.”
Campion will face off against Kenneth Branagh, Ryuske Hamaguchi, Paul Thomas Anderson, and Steven Spielberg in the stacked category.
In the Academy Awards’ 94-year history, only seven women have ever been nominated for Best Director alongside Campion: Lina Wertmüller (1976′s “Seven Beauties”), Sofia Coppola...
- 2/8/2022
- by Kate Erbland
- Indiewire
Audrey Diwan’s “Happening,” Jane Campion’s “The Power of the Dog,” Ryûsuke Hamaguchi’s “Drive My Car” and Terence Davies’s “Benediction” won top prizes at the 2022 Ics Awards, which are handed out by the International Cinephile Society.
This 19th edition marked a milestone with female talents winning best picture, director, animated film, documentary, debut feature, breakthrough performance and cinematography.
“Happening,” a timely abortion drama set in 1960s France, took home best picture, while its star, Anamaria Vartolomei, won best breakthrough performance.
“Remarkable in its combination of artistic delicacy and brutal realism, yet resisting any hint of didacticism, the film quietly builds tension to a gut-wrenching emotional pitch,” stated the Ics.
Campion, meanwhile, won best director with her Western family drama “The Power of the Dog.” Runner-up for top film was Hamaguchi with “Drive My Car,” a road drama based on Haruki Murakami’s short story about guilt and grief.
This 19th edition marked a milestone with female talents winning best picture, director, animated film, documentary, debut feature, breakthrough performance and cinematography.
“Happening,” a timely abortion drama set in 1960s France, took home best picture, while its star, Anamaria Vartolomei, won best breakthrough performance.
“Remarkable in its combination of artistic delicacy and brutal realism, yet resisting any hint of didacticism, the film quietly builds tension to a gut-wrenching emotional pitch,” stated the Ics.
Campion, meanwhile, won best director with her Western family drama “The Power of the Dog.” Runner-up for top film was Hamaguchi with “Drive My Car,” a road drama based on Haruki Murakami’s short story about guilt and grief.
- 2/7/2022
- by Elsa Keslassy
- Variety Film + TV
‘The Souvenir Part II’, ‘The Eyes of Tammy Faye’ both open.
Rank Film (distributor) Three-day gross (Feb 4-6) Total gross to date Week 1. Sing 2 (Universal) £5.1m £13m 2 2. Jackass Forever (Paramount) £2.1m £2.1m 1 3. Belfast (Univeral) £1.5m £9m 3 4. Spider-Man: No Way Home (Sony) £1.15m £91.7m 8 5. Moonfall (Efd) £1m £1.16m 1
Gbp to Usd conversion rate: 1.35
Paramount’s Jackass Forever has set a franchise opening record with a £2.1m start at the UK-Ireland box office this weekend, as Sing 2 kept top spot with an impressive second session.
Jackass Forever played in 537 locations, taking a location average of £3,911 – a decent total for an 18-rated film.
Rank Film (distributor) Three-day gross (Feb 4-6) Total gross to date Week 1. Sing 2 (Universal) £5.1m £13m 2 2. Jackass Forever (Paramount) £2.1m £2.1m 1 3. Belfast (Univeral) £1.5m £9m 3 4. Spider-Man: No Way Home (Sony) £1.15m £91.7m 8 5. Moonfall (Efd) £1m £1.16m 1
Gbp to Usd conversion rate: 1.35
Paramount’s Jackass Forever has set a franchise opening record with a £2.1m start at the UK-Ireland box office this weekend, as Sing 2 kept top spot with an impressive second session.
Jackass Forever played in 537 locations, taking a location average of £3,911 – a decent total for an 18-rated film.
- 2/7/2022
- by Ben Dalton
- ScreenDaily
As Hollywood eagerly anticipates this Tuesday’s Oscar nominations, all signs to continue to point towards a strong showing for “The Power of the Dog.” Jane Campion’s western, adapted from the Thomas Savage novel of the same name, continues to earn rave reviews for its minimalist script and committed performances from its cast.
Benedict Cumberbatch has earned particular praise for the method acting that he utilized in his performance, going so far as to practice castrating bulls and smoking so many cigarettes on set that he gave himself nicotine poisoning. The effort was certainly worth it, as his performance as brutal rancher Phil Burbank is the heart of the film and has propelled him towards Oscar buzz.
The London Critics’ Circle Film Awards ceremony was held in London on Sunday night and the evening was all about “The Power of the Dog.” The movie was named Film of the...
Benedict Cumberbatch has earned particular praise for the method acting that he utilized in his performance, going so far as to practice castrating bulls and smoking so many cigarettes on set that he gave himself nicotine poisoning. The effort was certainly worth it, as his performance as brutal rancher Phil Burbank is the heart of the film and has propelled him towards Oscar buzz.
The London Critics’ Circle Film Awards ceremony was held in London on Sunday night and the evening was all about “The Power of the Dog.” The movie was named Film of the...
- 2/6/2022
- by Christian Zilko
- Indiewire
Jane Campion’s The Power Of The Dog was the big winner at Sunday’s London Critics’ Circle Awards, scooping four prizes including Film of the Year. Scroll down for the full list of winners.
The pic also won Director for Campion, Actor for Benedict Cumberbatch, and Supporting Actor for Kodi Smit-McPhee.
Further winners included Driver My Car, which picked up Screenwriter for Ryûsuke Hamaguchi and Takamasa Oe, plus Foreign Language Film.
Also winning two awards were Passing, which took Supporting Actress for Ruth Negga and Breakthrough British/Irish Filmmaker for Rebecca Hall, and The Souvenir Part II, which after being shut out of the BAFTA nominations earlier this week won the Attenborough Award for British/Irish Film of the Year and British/Irish Actress for star Tilda Swinton (the latter awards recognizes an annual body of work so also covers Memoria and The French Dispatch).
Andrew Garfield won British...
The pic also won Director for Campion, Actor for Benedict Cumberbatch, and Supporting Actor for Kodi Smit-McPhee.
Further winners included Driver My Car, which picked up Screenwriter for Ryûsuke Hamaguchi and Takamasa Oe, plus Foreign Language Film.
Also winning two awards were Passing, which took Supporting Actress for Ruth Negga and Breakthrough British/Irish Filmmaker for Rebecca Hall, and The Souvenir Part II, which after being shut out of the BAFTA nominations earlier this week won the Attenborough Award for British/Irish Film of the Year and British/Irish Actress for star Tilda Swinton (the latter awards recognizes an annual body of work so also covers Memoria and The French Dispatch).
Andrew Garfield won British...
- 2/6/2022
- by Tom Grater
- Deadline Film + TV
Jane Campion’s “The Power of the Dog” won four major awards at the 42nd annual London Critics’ Circle Film Awards on Sunday.
“The Power of the Dog” won film of the year, Campion director of the year, and stars Benedict Cumberbatch and Kodi Smit-McPhee, actor and supporting actor of the year, respectively. This is Campion’s second film to take the Circle’s top honor, 28 years after “The Piano” won in 1994.
Olivia Colman’s performance in Maggie Gyllenhaal’s “The Lost Daughter,” which was snubbed at the BAFTA nominations, earned her the actress of the year award. This is Colman’s third award from the Circle, having previously won for “Tyrannosaur” and “The Favourite.”
Joanna Hogg’s “The Souvenir Part II” won British/Irish film of the year — two years after its predecessor “The Souvenir” won the same honor. It was one of three films for which Tilda Swinton...
“The Power of the Dog” won film of the year, Campion director of the year, and stars Benedict Cumberbatch and Kodi Smit-McPhee, actor and supporting actor of the year, respectively. This is Campion’s second film to take the Circle’s top honor, 28 years after “The Piano” won in 1994.
Olivia Colman’s performance in Maggie Gyllenhaal’s “The Lost Daughter,” which was snubbed at the BAFTA nominations, earned her the actress of the year award. This is Colman’s third award from the Circle, having previously won for “Tyrannosaur” and “The Favourite.”
Joanna Hogg’s “The Souvenir Part II” won British/Irish film of the year — two years after its predecessor “The Souvenir” won the same honor. It was one of three films for which Tilda Swinton...
- 2/6/2022
- by Naman Ramachandran
- Variety Film + TV
‘Moonfall’, ‘The Souvenir Part II’, ‘Belle’ among busy weekend.
Paramount Picitures’ non-fiction comedy Jackass Forever heads the new openers at the UK-Ireland box office this weekend, on a busy weekend that also features sci-fi Moonfall, festival favourite The Souvenir Part II and anime Belle.
The fifth theatrically-released film in the Jackass franchise, Jackass Forever reunites Johnny Knoxville, Steve-o, Chris Pontius and the gang of miscreants for what they claim is their final outing under the Jackass name; although this was previously asserted after the 2002 first film, Jackass: The Movie.
Forever opens in 537 locations – a significant increase on the previous films...
Paramount Picitures’ non-fiction comedy Jackass Forever heads the new openers at the UK-Ireland box office this weekend, on a busy weekend that also features sci-fi Moonfall, festival favourite The Souvenir Part II and anime Belle.
The fifth theatrically-released film in the Jackass franchise, Jackass Forever reunites Johnny Knoxville, Steve-o, Chris Pontius and the gang of miscreants for what they claim is their final outing under the Jackass name; although this was previously asserted after the 2002 first film, Jackass: The Movie.
Forever opens in 537 locations – a significant increase on the previous films...
- 2/4/2022
- by Ben Dalton
- ScreenDaily
The reign of Sony’s “Spider-Man: No Way Home” atop the U.K. and Ireland box office has finally ended with Universal’s animation sequel “Sing 2” claiming the throne.
“Sing 2,” directed by Garth Jennings and featuring a stellar voice cast of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson and Taron Egerton among many others, debuted in pole position with £6.8 million ($9.2 million), according to numbers released by Comscore.
Another Universal release, Kenneth Branagh’s awards season favorite “Belfast,” retained its second position from last week with £1.8 million and now has £6 million after two weekends.
After six weeks as box office champion, “Spider-Man: No Way Home” placed third with £1.7 million. After seven weekends, the film has swung to a total of £90 million and is in sixth place on the all-time U.K. and Ireland charts. The film’s next target is “Avatar,” which currently occupies fifth place with £94 million.
Paramount’s...
“Sing 2,” directed by Garth Jennings and featuring a stellar voice cast of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson and Taron Egerton among many others, debuted in pole position with £6.8 million ($9.2 million), according to numbers released by Comscore.
Another Universal release, Kenneth Branagh’s awards season favorite “Belfast,” retained its second position from last week with £1.8 million and now has £6 million after two weekends.
After six weeks as box office champion, “Spider-Man: No Way Home” placed third with £1.7 million. After seven weekends, the film has swung to a total of £90 million and is in sixth place on the all-time U.K. and Ireland charts. The film’s next target is “Avatar,” which currently occupies fifth place with £94 million.
Paramount’s...
- 2/1/2022
- by Naman Ramachandran
- Variety Film + TV
This morning, at the newly refurbished BAFTA HQ in Piccadilly, London the 2022 Ee BAFTA Rising Star Award nominees were announced by last years winner Bukky Bakray.
Hosted by BAFTA Chair Krishnendu Majumdar and film broadcaster Edith Bowman, the award which is now in its 17th year is the only award that is open for public voting. The nominees consist of five actors who have each demonstrated their remarkable talent in film over the past year, having captured the imagination of both the public and film industry alike.
The nominees are as follows;
Ariana DeBose as Anita and David Alvarez as Bernardo in 20th Century Studios’ West Side Story. Photo by Niko Tavernise. © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.
Ariana Debose is a multi-award-nominated actress, whose star performance in Steven Spielberg’s West Side Story has received widespread acclaim. Alongside her nomination for the Ee Rising Star Award, she...
Hosted by BAFTA Chair Krishnendu Majumdar and film broadcaster Edith Bowman, the award which is now in its 17th year is the only award that is open for public voting. The nominees consist of five actors who have each demonstrated their remarkable talent in film over the past year, having captured the imagination of both the public and film industry alike.
The nominees are as follows;
Ariana DeBose as Anita and David Alvarez as Bernardo in 20th Century Studios’ West Side Story. Photo by Niko Tavernise. © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.
Ariana Debose is a multi-award-nominated actress, whose star performance in Steven Spielberg’s West Side Story has received widespread acclaim. Alongside her nomination for the Ee Rising Star Award, she...
- 2/1/2022
- by Zehra Phelan
- HeyUGuys.co.uk
Following The Film Stage’s collective top 50 films of 2021, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
After over 14 months of no cinema-going, 2021 finally marked a return to theaters. The first film back––something every cinephile will forever have etched in their memory––was not a movie I heavily anticipated but one that thoroughly entertained: Guy Ritchie’s delightfully nasty B-movie Wrath of Man.
While the rest of the movie-going year had its ups and downs (the uncertain future of the arthouse marketplace as they attempt to find a footing in Disneyfied world), 2021’s cinematic output certainly wasn’t lacking for quality.
Looking back at the new releases, there’s a number of films that narrowly missed my top 15, including The French Dispatch, What Do We See When We Look at the Sky?, Days, The Beatles: Get Back, Annette, West Side Story, Siberia, Procession,...
After over 14 months of no cinema-going, 2021 finally marked a return to theaters. The first film back––something every cinephile will forever have etched in their memory––was not a movie I heavily anticipated but one that thoroughly entertained: Guy Ritchie’s delightfully nasty B-movie Wrath of Man.
While the rest of the movie-going year had its ups and downs (the uncertain future of the arthouse marketplace as they attempt to find a footing in Disneyfied world), 2021’s cinematic output certainly wasn’t lacking for quality.
Looking back at the new releases, there’s a number of films that narrowly missed my top 15, including The French Dispatch, What Do We See When We Look at the Sky?, Days, The Beatles: Get Back, Annette, West Side Story, Siberia, Procession,...
- 1/14/2022
- by Jordan Raup
- The Film Stage
Following The Film Stage’s collective top 50 films of 2021, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
Music docs, Memoria, and more music docs: welcome to my top ten. There are some non-music-docs, but only seven. It was almost six. And in a rare moment of clarity I exercised restraint. I’ll probably regret it. Themes are disparate between the rest. From unseen masterwork to global phenomenon, Chile to Romania, nautical myth to coming of age in the ’70s––they run the gamut.
To the point of showing there’s no such thing as a “bad year” in cinema, my list of honorable mentions is insufferable. Barely edging out the top ten is The Power of the Dog, The Worst Person in the World, The Velvet Underground, and Drive My Car, any of them a likely 9 or 10 spot were I writing this on a different day.
Music docs, Memoria, and more music docs: welcome to my top ten. There are some non-music-docs, but only seven. It was almost six. And in a rare moment of clarity I exercised restraint. I’ll probably regret it. Themes are disparate between the rest. From unseen masterwork to global phenomenon, Chile to Romania, nautical myth to coming of age in the ’70s––they run the gamut.
To the point of showing there’s no such thing as a “bad year” in cinema, my list of honorable mentions is insufferable. Barely edging out the top ten is The Power of the Dog, The Worst Person in the World, The Velvet Underground, and Drive My Car, any of them a likely 9 or 10 spot were I writing this on a different day.
- 1/13/2022
- by Luke Hicks
- The Film Stage
Following The Film Stage’s collective top 50 films of 2021, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
It’s challenging to contextualize 2021, a year that largely felt like a gradual restart to moviegoing and, maybe, a new normal. Cinema, to that end, remains largely escapist, even if some pictures like Radu Jude’s Bad Luck Banging or Loony Porn and Stop and Go (nee Recovery) directly confronted some of the anxiety—perhaps even some of the absurdity—of Covid times. 2020 was slated to be a year of big films and many of those (F9 and No Time to Die) surfaced in 2021, while some (Licorice Pizza and Spider-Man: No Way Home) were freshly made under extensive safety protocols. In some ways the multiplex in 2021 felt a lot like outlet shopping: certain films were fresh and on-trend, others felt like relics from another time.
On the festival front,...
It’s challenging to contextualize 2021, a year that largely felt like a gradual restart to moviegoing and, maybe, a new normal. Cinema, to that end, remains largely escapist, even if some pictures like Radu Jude’s Bad Luck Banging or Loony Porn and Stop and Go (nee Recovery) directly confronted some of the anxiety—perhaps even some of the absurdity—of Covid times. 2020 was slated to be a year of big films and many of those (F9 and No Time to Die) surfaced in 2021, while some (Licorice Pizza and Spider-Man: No Way Home) were freshly made under extensive safety protocols. In some ways the multiplex in 2021 felt a lot like outlet shopping: certain films were fresh and on-trend, others felt like relics from another time.
On the festival front,...
- 1/12/2022
- by John Fink
- The Film Stage
At the 2020 Oscars, Neon’s “Parasite” grossed $55 million, won four awards, and became the first-ever Best Picture win for a non-English language film. Three weeks later, theaters shut down.
“Parasite” looked like the green shoot in the transition of a specialized ecosystem. By breaking out of the declining base of older, upscale viewers for foreign language releases, it offered hope that younger viewers would support acclaimed and cinematically inventive films in theaters.
That’s not what happened. In 2021, overall domestic grosses dropped 61 percent compared to 2019; specialized dropped more 70 percent with a 5.3 percent share of overall ticket sales. The raw box office is even uglier: Specialized distributors grossed $700 million in 2019 and $253 million in 2021.
Perhaps even more discomfiting is how specialized distribution began to look like its studio-driven brethren. In 2019, 12 films from specialized units grossed $20 million or more. In 2021, there was one. FUNimation’s “Demon Slayer: Mugen Train” took in $36 million — 14 percent of the annual total,...
“Parasite” looked like the green shoot in the transition of a specialized ecosystem. By breaking out of the declining base of older, upscale viewers for foreign language releases, it offered hope that younger viewers would support acclaimed and cinematically inventive films in theaters.
That’s not what happened. In 2021, overall domestic grosses dropped 61 percent compared to 2019; specialized dropped more 70 percent with a 5.3 percent share of overall ticket sales. The raw box office is even uglier: Specialized distributors grossed $700 million in 2019 and $253 million in 2021.
Perhaps even more discomfiting is how specialized distribution began to look like its studio-driven brethren. In 2019, 12 films from specialized units grossed $20 million or more. In 2021, there was one. FUNimation’s “Demon Slayer: Mugen Train” took in $36 million — 14 percent of the annual total,...
- 1/10/2022
- by Tom Brueggemann
- Indiewire
Following The Film Stage’s collective top 50 films of 2021, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
As 2021 careens recklessly to a close, it seems mentally beneficial to emphasize the positives.
On a personal level, the opportunity to return to cinemas, especially with my children, felt wondrous. And while I was unable to attend the Toronto International Film Festival in person for the second-straight year, having the chance to virtually cover TIFF, Sundance, SXSW, Hot Docs, Tribeca, New York, and Chicago in the last twelve months was a genuine pleasure. It was through these festivals that I saw many of the films on the list below.
Just outside my top fifteen are a number of films that delighted and enthralled me: Joel Coen’s marvelous Tragedy of Macbeth; Ryusuke Hamaguchi’s triumphant Wheel of Fortune and Fantasy and Drive My Car; Edgar Wright’s...
As 2021 careens recklessly to a close, it seems mentally beneficial to emphasize the positives.
On a personal level, the opportunity to return to cinemas, especially with my children, felt wondrous. And while I was unable to attend the Toronto International Film Festival in person for the second-straight year, having the chance to virtually cover TIFF, Sundance, SXSW, Hot Docs, Tribeca, New York, and Chicago in the last twelve months was a genuine pleasure. It was through these festivals that I saw many of the films on the list below.
Just outside my top fifteen are a number of films that delighted and enthralled me: Joel Coen’s marvelous Tragedy of Macbeth; Ryusuke Hamaguchi’s triumphant Wheel of Fortune and Fantasy and Drive My Car; Edgar Wright’s...
- 1/3/2022
- by Christopher Schobert
- The Film Stage
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