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Get Out leads nominations for 2017 Gotham Independent Film Awards

The nominations for the 27th annual Gotham Independent Film Awards have been announced today, with Jordan Peele’s acclaimed directorial feature Get Out leading the pack with nods in four categories – Best Feature, Breakthrough Director (Peele), Best Screenplay (Peele) and Best Actor.

Get Out will contest the Best Feature award against Call Me By Your Name (three nominations in total), The Florida Project (three nominations in total), Good Time (two nominations in total) and I, Tonya (two nominations in total).

Via Deadline, here’s a full list of the nominations…

Best Feature

Call Me By Your Name

Luca Guadagnino, director; Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito, James Ivory, Howard Rosenman, producers (Sony Pictures Classics)

The Florida Project

Sean Baker, director; Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri, Shih-Ching Tsou, producers (A24)

Get Out

Jordan Peele, director; Sean McKittrick, Jason Blum, Edward H.
See full article at Flickeringmyth »

Gotham Awards 2017: Nods for Greta Gerwig, “Fleabag,” “Better Things,” & More

Gerwig’s “Lady Bird

Nominations for the 2017 Gotham Awards are in. While Greta Gerwig and Maggie Betts are both up for the Breakthrough Director Award for “Lady Bird” and “Novitiate,” respectively, none of the five films nominated for Best Feature are helmed by a woman. Plus, the Sabaah Folayan-co-directed “Whose Streets?” is the only film from a woman filmmaker nominated for Best Documentary. This marks a decrease from last year, which saw one narrative and two docs from women filmmakers receive nods.

Both coming-of-age stories, “Lady Bird” centers on a Catholic school student itching to get out of her hometown, Sacramento, CA, while “Novitiate” is about a secular-raised young woman who decides to become a nun. “Whose Streets?” spotlights the death of Michael Brown Jr. and the social movement it inspired.

Gerwig also picked up a nomination for writing “Lady Bird,” and the comedy’s star, Saoirse Ronan, will compete for the Best Actress award.

As compared to the film categories, women fared dramatically better in the Gotham TV nominations. Sixty percent, or three of the five, long form series nods went to women-created or co-created fare: Pamela Adlon’s “Better Things,” Phoebe Waller-Bridge’s “Fleabag,” and Sarah-Violet Bliss’ “Search Party.” All of those titles are dark half-hour comedies led by women. Meanwhile, 80 percent, or four of the five, short form nominations went to series from female creators: Kate Berlant’s “555,” Zoe Cassavetes’ “Junior,” Sarah Salovaara’s “Let Me Die a Nun,” and Nancy Andrews’ “The Strange Eyes of Dr. Myes.”

A committee of critics, journalists, fest organizers, and film curators picked this year’s Gotham nominees. The awards ceremony will be November 27 in New York City. Special tributes will also be given to Nicole Kidman and her “Beguiled” director, Sofia Coppola, among others.

All of the female Gotham Award nominees are below. List adapted from The Hollywood Reporter. (Note: When a male co-creator or co-director’s name is present, the woman’s name is in bold.)

Best Documentary

Whose Streets?

Sabaah Folayan, Damon Davis, directors; Sabaah Folayan, Damon Davis, Jennifer MacArthur, Flannery Miller, producers (Magnolia Pictures)

Bingham Ray Breakthrough Director Award

Maggie Betts for Novitiate (Sony Pictures Classics)

Greta Gerwig for Lady Bird (A24)

Best Screenplay

The Big Sick, Emily V. Gordon and Kumail Nanjiani (Amazon Studios)

Lady Bird, Greta Gerwig (A24)

Best Actress

Melanie Lynskey in I Don’t Feel at Home in This World Anymore (Netflix)

Haley Lu Richardson in Columbus (Superlative Films/Depth of Field)

Margot Robbie in I, Tonya (Neon)

Saoirse Ronan in Lady Bird (A24)

Lois Smith in Marjorie Prime (FilmRise)

Breakthrough Actor

Mary J. Blige in Mudbound (Netflix)

Brooklynn Prince in The Florida Project (A24)

Breakthrough Series — Long Form

Better Things

Pamela Adlon, Louis C.K., creators; Dave Becky, M. Blair Breard, Louis C.K., Pamela Adlon, executive producers (FX Networks)

Fleabag

Phoebe Waller-Bridge, creator; Phoebe Waller-Bridge, Harry Williams, Jack Williams, executive producers (Amazon)

Search Party

Sarah-Violet Bliss, Charles Rogers, Michael Showalter, creators; Sarah-Violet Bliss, Charles Rogers, Michael Showalter, Tony Hernandez, Lilly Burns, executive producers (TBS)

Breakthrough Series — Short Form

555

Kate Berlant, Andrew DeYoung and John Early, creators (Vimeo)

Junior

Zoe Cassavetes, creator (Blackpills and Vice)

Let Me Die a Nun

Sarah Salovaara, creator (Vimeo)

The Strange Eyes of Dr. Myes

Nancy Andrews, creator (YouTube)

Gotham Awards 2017: Nods for Greta Gerwig, “Fleabag,” “Better Things,” & More was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

‘Get Out,’ ‘Call Me by Your Name,’ ‘Lady Bird,’ ‘The Florida Project’ & More Lead 2017 Gotham Award Nominations

Despite the insanity of announcing year-end award nominations with still well over two months to go in 2017, we have to give it to the annual Ifp Gotham Awards for being more on-point than most trophy ceremonies this season.

They’ve now unveiled the nominations for their 27th edition and leading the pack is Jordan Peele’s social thriller Get Out. Also among the stellar group of Best Feature nominations are Call Me by Your Name, The Florida Project, I, Tonya, and Good Time.

Check out the full list of nominations below, including Columbus, Ex Libris, Rat Film, Lady Bird, Marjorie Prime, and more of the best films of the year. If The Academy takes just a few notes from this group come next year, we’ll be mightily pleased.

Best Feature

Call Me by Your Name

The Florida Project

Get Out

Good Time

I, Tonya

Best Documentary

Ex Libris – The
See full article at The Film Stage »

Fashion Label Miu Miu Back at Venice With Two New Women’s Tales

Fashion and film have long intersected when it comes to glitz and glamour. But the Miu Miu Women’s Tales series of shorts, which is an integral component of the Venice Days section at the Venice Film Festival, gives the Prada Group-owned fashion label a different role in the movie world: it discovers and empowers women directors.

Launched in 2012, Women’s Tales has now spawned 14 works written and directed by women exploring the feminine universe, all fully financed and produced by Prada. They are all loosely inspired by Miu Miu clothes and accessories, but with no obligation for these products to be shown on the screen.

It started like this: “One day I got a call from Miu Miu,” says producer Max Brun. “They said: ‘We’d like to do a short by a woman director because we want to explore women’s creativity through young female directors’ lenses…which embodies the brand’s attention to women
See full article at Variety - Film News »

Interview: Costume Designer Stacey Battat Talks Creating the Fashions of “The Beguiled”

The Beguiled”: Ben Rothstein/Focus Features

Costume designer Stacey Battat’s latest film is “The Beguiled,” which happens to be her fourth collaboration with filmmaker Sofia Coppola. Starring Nicole Kidman, Kirsten Dunst, and Elle Fanning, the film is a Civil War-set psychological thriller that focuses on a Southern girls’ boarding school and the chaos that ensues when a wounded Union soldier (Colin Farrell) arrives. The film has been generating a great deal of buzz since its debut at the 2017 Cannes International Film Festival, where Coppola won a Best Director prize.

Battat’s career as a Hollywood costume designer started in 2007 on Zoe R. Cassavetes’ indie film “Broken English.” Battat has since worked on a number of films including “Freeheld,” “Still Alice,” “What Maisie Knew,” and “The Disappearance of Eleanor Rigby.” She has also designed costumes for a host of TV projects including “Mozart in the Jungle” and “Girls.” “The Bling Ring,” “Somewhere,” and Netflix’s “A Very Murray Christmas” are her previous collaborations with Coppola.

Women and Hollywood spoke to Battat about her costume choices, working with Coppola and “The Beguiled” cast and crew, the research it took to bring these strong but embattled women to life, and how costume design is the one Hollywood profession dominated by women.

The Beguiled” opens in limited release June 23, followed by a wider release June 30.

W&H: What was it like to work on a period piece set in the Civil War?

Sb: This was my first period movie. I had worked on a period TV show (“Z: The Beginning of Everything”), but [working on a film] is a big difference in a lot of ways. It has to be authentic. You can’t decide at the last minute that you wish a costume is red because you have already made it or rented it. That’s not an option. You have to really decide what is going to happen in advance.

W&H: Coppola has an atmospheric style in this film and your costume choices seem to fall right in line with its palette and lighting. What was your collaboration like with her and the other designers?

Sb: We always sit down and talk before production begins. So Anne Ross, the production designer, Sofia, myself, Philippe Le Sourd, our cinematographer, and film editor Sarah Flack sat down to talk about what kind of mood we wanted to create for this movie. I think we work together in a congruous way. It’s also nice to work with the same people over and over because you develop a similar language.

In this particular case, we wanted the film to be eerie but also beautiful. We talked about the film being ethereal, about the characters feeling like ghosts that had been left behind, about the clothes having a diaphanous quality, about light passing through the trees.

W&H: How did you research the Civil War era, and how did you find the fabrics and laces used to make the clothing?

Sb: I went to the Metropolitan Museum of Art and visited their textile center. I looked through fabric books from that era and was able to get a good grasp on what kinds of fabrics were available in the 1860s and bought material in retail stores. The buttons and lace are older. I scoured stores to find them.

W&H: How did the social etiquette of the time period play into your design choices?

Sb: The women had to stay covered. I put myself in their mindset and found out they were raised to essentially please men during that time period. I wanted to know what it’s always like to leave before the party is over and what was it like to always want a man to do something for you. I think that these things informed my decisions in a certain way but not in a specific way.

Walking around in a corset is complicated. It’s a different thing. You must breathe and stand differently. You can’t slouch. I think wearing one helped the actresses get into character.

The Beguiled”: Focus Features

W&H: Can you talk about each actress and what their costume brought to their specific character?

Sb: I wanted Nicole Kidman to feel in charge. I tried to accomplish that by not putting her in very colorful clothes, by putting her in more sedate prints, not flowered but polka dots and stripes.

I wanted Kirsten Dunst to feel romantic. She had come from a city, so in my mind, she was more sophisticated than the other girls. I tried to accomplish that by putting her in diaphanous fabrics.

I wanted Elle Fanning to feel flirty. I hope that the ruffles on her dresses accomplished that.

I wanted Oona Laurence to feel like her clothes were too big because she was either hungry or they were hand-me-downs from other girls at the school.

I put a lot of panels in Angourie Rice’s clothes to show she was still growing. Her fabrics didn’t always match the print, like a light green stripe to lengthen the sleeves of the dress she was wearing.

I wanted Addison Riecke to feel young. She was really funny, and I didn’t know her delivery would be so funny when I was making her costume. I wanted her to feel young and charming.

Emma Howard really looks like she’s from that period. I didn’t have to do a lot. She looked like she belonged to the 1860s.

W&H: There’s a big contrast between their buttoned up, pastel clothing and Colin Farrell’s. Can you please talk about the difference between dressing the two genders?

Sb: Dressing a man in that time period is just easier. There were a lot more constraints to the women’s clothing.

W&H: This film’s production took 26 days. What was it like working in this timeline on an independent film’s budget?

Sb: I had really great team. We were dressing seven to eight people at a time, and we managed to get into a good rhythm. I had the most incredible tailor in New Orleans named Patty Spinelli. I had an incredible costumer named Jennifer Watson. I had the best intern in the world. I feel like these people and support streamlined the production process.

W&H: What is it like being a female costumer designer in Hollywood?

Sb: The one thing I will say is that we are the one profession in Hollywood that is primarily female. I mean, no other area of the profession is. Camera operators, production designers, DPs are generally men but costume designers are generally women — across the board.

Certainly being a woman in Hollywood has certain drawbacks but also merits. I know there is a lot of disparity in the way women are paid as opposed to men, but when I hear about my friends who are lawyers talking about the crazy misogyny that happens in their workplace, I think about how glad I am to be a woman in Hollywood. I wish there were more women filmmakers. There should be more women directors, and more women directors of photography.

https://medium.com/media/9bf254b930ffcc6be95ff98cf62720bb/href

Interview: Costume Designer Stacey Battat Talks Creating the Fashions of “The Beguiled” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

TV drama made for smart-phones is round the corner

Companies like AwesomenessTV and go90 are focusing on the first generation of “true digital natives”.

High-end drama took centre stage at Miptv this week with Sky Atlantic’s Riviera, Japanese thriller Crisis and works-in-progress such as Tom Tykwer’s Babylon Berlin and Ride Upon The Storm, from Borgen creator Adam Price, among the titles previewing on the big screen at the Palais des Festivals in Cannes.

And fiction overall continues to dominate the global content market, accounting for 43% of top performing shows world-wide (excluding sport) in 2016, according to the annual global TV trends report of audience monitor Eurodata TV Worldwide which was released during the market.

It is a figure that bodes well for the high-end drama boom but in the backdrop the same report highlighted the continuing decline of real-time viewing in favour of catch-up and personal recording. As well as, more significantly, the move away from the TV set in favour of smart-phones, tablets and computers
See full article at ScreenDaily »

Miptv: TV drama made for smart-phones is round the corner

Companies like AwesomenessTV and go90 are focusing on the first generation of “true digital natives”.

High-end drama took centre stage at Miptv this week with Sky Atlantic’s Riviera, Japanese thriller Crisis and works-in-progress such as Tom Tykwer’s Babylon Berlin and Ride Upon The Storm, from Borgen creator Adam Price, among the titles previewing on the big screen at the Palais des Festivals in Cannes.

And fiction overall continues to dominate the global content market, accounting for 43% of top performing shows world-wide (excluding sport) in 2016, according to the annual global TV trends report of audience monitor Eurodata TV Worldwide which was released during the market.

It is a figure that bodes well for the high-end drama boom but in the backdrop the same report highlighted the continuing decline of real-time viewing in favour of catch-up and personal recording. As well as, more significantly, the move away from the TV set in favour of smart-phones, tablets and computers
See full article at ScreenDaily »

Spring Break to Continue Forever On Mysterious Streaming Platform

What does a French billionaire want with James Franco?

The sun sets over these last and barren weeks of madness we call March. What remains of snowfall turns into slosh as students blink slowly into sobriety. “Spring Break, Spring Break, Spring Break forever,” an icy voice chants. But good news: that creepy voice just might have its demands met. A mysterious streaming platform called Blackpills has, per Deadline, now committed to distributing a scripted micro-episodic series based on Harmony Korine’s 2012 hyper-stylized meditation of life, love and spring break that starred James Franco, Selena Gomez and Vanessa Hudgens.

The production company behind Spring Breakers, Fernando Sulichin and Chris Hanley’s Muse Productions (Buffalo ’66, Virgin Suicides), are more than thrilled. Hanley excitedly tells Deadline that the proposed micro-episode format is “the future of digital media.” Korine, on the other hand, has asserted his lack of interest in the project: busy, as he is, in
See full article at FilmSchoolRejects »

Vice To Debut First Scripted Shows, Including Brittany Furlan Blackpills Drama

Vice Media has inked a distribution deal with Blackpills, a French digital studio specializing in short form content for millennials, to release its first-ever slate of scripted shows. The shows will be helmed by celebrated filmmakers Luc Besson (writer of The Fifth Element), Bryan Singer (X-Men: Apocalypse), and Zoe Cassavetes (Broken Engish).

In addition to its deal with Blackpills, Variety reports, Vice will distribute two series from British production company Pulse Films, which it acquired last year, including Pillowtalk, about a tortured bachelor who tries to refrain from casual sex, and Twiz And Tuck Bucket List, about two best friends who set off on a road trip to do 25 crazy things.

Visit Tubefilter for more great stories.
See full article at Tubefilter News »

Watch: Sofia Coppola’s First Film ‘Lick the Star’ Flirts With Cliques, Punk Music and Growing Up

  • Indiewire
Watch: Sofia Coppola’s First Film ‘Lick the Star’ Flirts With Cliques, Punk Music and Growing Up
One year before “The Virgin Suicides” and four before “Lost in Translation,” Sofia Coppola moved away from an acting career she never wanted to have to telling her first stories as a director. Her 1998 film “Lick the Star” shows off the type of visual storytelling Coppola would come to make for herself: The slow-motion jump cuts, stylized performances and pitch-perfect choice of punk music.

Read More: Report: Sofia Coppola Directing ‘The Beguiled’ With Nicole Kidman, Kirsten Dunst, Elle Fanning

Lick the Star” tells the story of a group of girls planning a scheme on some boys (it involves arsenic, an idea they took from “Flowers in the Attic”). The central character, Kate, returns to school after a few days in the hospital and finds herself in an ever-shifting environment where seventh grade queen bee Chloe is getting in with her friends… until an unfortunate game of telephone ostracizes Chloe and
See full article at Indiewire »

Melanie Griffith: 'By the Time You're 40 in Hollywood, You're Over the Hill'

  • PEOPLE.com
Melanie Griffith: 'By the Time You're 40 in Hollywood, You're Over the Hill'
Having grown up in Hollywood under the wing of actress mother Tippi Hedren, Melanie Griffith knows a thing or two about the pressures surrounding women in the business. Specifically, that in a town obsessed with youth, career opportunities generally decrease with age. "By the time you're 40 in Los Angeles, you're over the hill in the business," Griffith, 58, tells People. "It takes women that are strong enough to actually change the perception." Griffith, who was nominated for an Oscar in 1989 for her performance in the women-in-the-workplace empowerment classic Working Girl, cites Zoe Cassavetes, the director of her latest film, as one example.
See full article at PEOPLE.com »

Melanie Griffith: 'By the Time You're 40 in Hollywood, You're Over the Hill'

  • PEOPLE.com
Melanie Griffith: 'By the Time You're 40 in Hollywood, You're Over the Hill'
Having grown up in Hollywood under the wing of actress mother Tippi Hedron, Melanie Griffith knows a thing or two about the pressures surrounding women in the business. Specifically, that in a town obsessed with youth, career opportunities generally decrease with age. "By the time you're 40 in Los Angeles, you're over the hill in the business," Griffith, 58, tells People. "It takes women that are strong enough to actually change the perception." Griffith, who won an Oscar in 1988 for her performance in the women-in-the-workplace empowerment classic Working Girl, cites Zoe Cassavetes, the director of her latest film, as one example. Day Out of Days
See full article at PEOPLE.com »

What's New on Netflix, TV, Digital, and DVD/Blu-ray This Week: February 22-28

  • Moviefone
At a loss for what to watch this week? From new DVDs and Blu-rays, to what's streaming on Netflix, we've got you covered.

New on DVD and Blu-ray

"Spotlight"

Not-so-bold prediction: "Spotlight" will win Best Picture at the Oscars this Sunday. Maybe. Maybe not. The story of the Boston Globe reporters who exposed widespread child abuse by Catholic priests is a frontrunner to win the top honor. Whether it does win or not, it's out on Blu-ray and DVD on February 23. The discs include "Uncovering the Truth: A Spotlight Team Roundtable," with the real-life Spotlight team reuniting 14 years later for a roundtable discussion about the challenges they faced, and how the shocking story continues to impact the world. You can also watch the bonus featurettes "Spotlight: A Look Inside" and "The State of Journalism."

"The Good Dinosaur"

What if dinosaurs never became extinct and lived at the same time as humans?
See full article at Moviefone »

France’s Other Angle Moves Into Production with ‘Don’t Tell Her’

France’s Other Angle Moves Into Production with ‘Don’t Tell Her’
Paris – Paris-based Other Angle Pictures, headed by Olivier Albou and Laurence Schonberg, has entered movie production, boarding Solange Cicurel’s contempo relationship comedy “Don’t Tell Her,” boasting a French-Belgian ensemble cast including French singer Jenifer Bartoli, one-woman show star Camille Chamoux (“Les Francis”) and comedy actor Arie Elmaleh (“Caged”).

In another sign of growth at Other Angle, which launched in 2008, one of its comedy flagships, Gerard Depardieu-starrer “A Mighty Team,” will open 2016’s 18th UniFrance Rendez-Vous with French Cinema.

Pushing from the get-go its brand as the go-to sales company for French comedic movies. The Other Angle diversified into English-language movies selling John Hay’s post World War II espionage thriller “Lives in Secret,” with Tim Roth and Kelly Reilly, Zoe Cassavetes’ “Day Out of Days,” starring Alexia Landau and Eddie Izzard; and Sam Friedlander’s “Larry Gaye, Renegade Male Flight,” starring “Royal PainsMark Feuerstein, Rebecca Romijn and Stanley Tucci.
See full article at Variety - Film News »

Afm: Other Angle Closes Deals On ‘Full Speed,’ ‘The Roommates Party’ (Exclusive)

Afm: Other Angle Closes Deals On ‘Full Speed,’ ‘The Roommates Party’ (Exclusive)
Other Angle has closed sales on a pair of French comedies: “Full Speed” from Nicolas Benamou, the director of French found-footage laffer “Babysitting,” and Alexandra Leclerc’s “The Roommates Party.”

Penned by Frederic Jardin, Fabrice Roger-Lacan and Benamou, “Full Speed” turns on a family hitting the road on the first day of their summer vacation; they lose control of their vehicle when it gets stuck at 80 miles an hour. “Full Speed” stars Andre Dussolier and Jose Garcia.

Pic, now in production, has sold to Wild Bunch Germany and Belga in Belgium. Wild Bunch will distribute in France.

Benamou broke through with “Babysitting,” a modestly budgeted comedy that racked up 2.3 million French admissions in 2014.

Full Speed” is produced by Chic Films (“A Prophet”) and La Petite Reine (“The Artist”), and co-produced by Wild Bunch.

“The Roommates Party” has sold to Square One in Germany, O Brother in Belgium and Gmh for Switzerland.
See full article at Variety - Film News »

Other Angle takes Zoe Cassavetes' 'Day Out of Days'

Other Angle takes Zoe Cassavetes' 'Day Out of Days'
Exclusive: Deal signed following French premiere at Deauville.

Other Angle has acquired world rights to Zoe Cassavetes’ second feature Day Out of Days, following a 40-something, former movie star whose acting career has hit the buffers.

The Paris-based sales company signed the film following its French premiere at the Deauville American Film Festival last week.

French actress Alexia Landeau, who appeared alongside Julie Delpy in 2 Days In Paris and its sequel 2 Days In New York, stars with support from Eddie Izzard, Melanie Griffith and Alessandro Nivola.

Day Out of Days premiered at the Los Angeles Film Festival in June.

“It’s got a great little cast,” said Other Angle co-chief Olivier Albou who will commence sales on the film in Toronto this week.

Full Speed

Another key addition to the Other Angle slate is Full Speed (A Fond), the latest film from Nicolas Benamou, director of the hit French found-footage comedy Babysitting, which drew more
See full article at ScreenDaily »

Deauville’s Artistic Director Bruno Barde Chats About American Cinema, Talent

Bruno Barde, the man behind five festivals including the Deauville American Film Fest, sat down with Variety on the eve of the 41st edition, which opens today with an homage to Keanu Reeves and the French premiere of Baltasar Kormakur’s epic adventure drama “Everest.”

A former high-profile agent and the current boss of Paris-based Public System Cinema, Barde took over the artistic direction of Deauville 20 years ago and has strived to select movies and documentaries that reflect the breath and diversity of contemporary U.S. cinema, as well as its society.

This year, the main theme of the festival is heroism. “American cinema abounds with cult heroic figures; not only in studio movies with superheroes but also in independent films with real people who by virtue become heroes,” said Barde. Many actors who will be honored in Deauville have interpreted these heroes: Reeves with “Matrix” and “Speed”; Orlando Bloom
See full article at Variety - Film News »

Anton Corbin’s ‘Life,’ Eli Roth’s ‘The Green Inferno’ To Play At Deauville Fest

Anton Corbin’s ‘Life,’ Eli Roth’s ‘The Green Inferno’ To Play At Deauville Fest
Robert Pattinson and Elizabeth Olson will be on hand at the 41st Normandie-set Deauville film festival to receive the Hollywood Rising Star Awards and present the French premiere of their respective movies, “Life” (pictured above) directed by Anton Corbin, and “The Green Inferno” helmed by Eli Roth.

Following the footsteps of Gail Ann Hurd, Paula Wagner and Brian Grazer, vet producer Lawrence Bender will receive Deauville’s career tribute and participate in a masterclass co-organized by the PGA and the French producers guild, Apc.

Other Deauville honorees will include Terrence Malick, Michael Bay, Orlando Bloom, Keanu Reeves and Ian McKellen.

Deauville’s competition roaster brings together Sophie Barthes’ “Madame Bovary” with Mia Wasikowska, Ezra Miller and Paul Giamatti, Ramin Bahrani’s “99 Homes” with Andrew Garfield, Michael Shannon and Laura Dern, Jon Watts’ “Cop Car,” Zoe Cassavetes’ “Day Out of Days,” Rick Famuyiwa’s “Dope,” Adam Salky’s “I Smile Back” with Sarah Silverman,
See full article at Variety - Film News »

Trainwreck | Review

  • ioncinema
Who’ll Stop the Train?: Apatow Matures with Schumer’s Impressive Skills

The most inappropriate element of Judd Apatow’s latest film Trainwreck is its title, which promises to be a bawdy, crass marathon of blatant innuendo with a high potential for poor taste, if judging solely by its marketing publicity and reputation of its director and star/writer, comedian Amy Schumer. What a surprise to find not only a rather mature but even sensible depiction of generally undiscussed difficulties concerning relationships. Schumer shines in her own generously concocted marinade, deftly spinning an excellent characterization for herself while managing a surprising amount of appealing supporting characters. With a running time just falling over the two hour mark, you’re bound to find a few instances worthy of trimming, but Schumer’s pleasurable hurricane hits almost all its marks, a thankful reprieve from the usual glut of testosterone fueled R rated adult studio comedies.
See full article at ioncinema »

Prada And Venice Days Renew Miu Miu Women’s Tales Partnership, Rohrwacher’s ‘De Djess’ Short To Unspool On Lido

Rome – Prada women’s-only label Miu Miu and the Venice Film Festival’s separately run Venice Days section have renewed their partnership on “The Miu Miu Women’s Tales” series of shorts that will see hot young Italian director Alice Rohrwacher’s “De Djess,” a surreal satire on the world of film, fashion and paparazzi, bowing on the Lido, where it was shot.

Rohrwacher, winner of the Cannes Grand Prix in 2014 for “The Wonders,” shot “De Djess” at the Venice Lido’s Excelsior Hotel, the fest’s glamour hub.

It features a dress with crystal beads, known as “dress number 328,” from the Miu Miu Spring/Summer 2015 collection, in the lead role.

Shepherded by Carlo Cresto-Dina, lensed by Rohrwacher’s regular ace cinematographer Helene Louvart (“The Beaches of Agnes”), and also starring her sister, Italian A-lister Alba Rohrwacher, “De Djess” is the ninth Miu Miu commission in the festival-friendly series, now in its fourth year.
See full article at Variety - Film News »
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