Producer Patrick Sobelman & Gaumont Exec Ariane Toscan du Plantier To Head Up France’s César Academy
Producer Patrick Sobelman and Ariane Toscan du Plantier, director of Cinema Distribution France and International at film and TV company Gaumont, have been voted in as president and vice-president of France’s César Academy.
Their mandate begins on July 16 for two years. Sobelman was previously vice-president of the César Academy alongside outgoing president Véronique Cayla.
The president and vice-president, the members of the executive Academy Office, who assist them in their work, as well as the heads of the 22 professionals chapters were voted on by the 176 members of the general assembly of the Association for the Promotion of Cinema, the umbrella body overseeing Cesar Academy. The general assembly members are in turn voted in by the some 4,700 members of the academy.
Since 2020, the Apc has stipulated gender parity across the César Academy’s Presidency, Academy Office and different chapter representatives, following accusations of lack of gender equality within its ranks...
Their mandate begins on July 16 for two years. Sobelman was previously vice-president of the César Academy alongside outgoing president Véronique Cayla.
The president and vice-president, the members of the executive Academy Office, who assist them in their work, as well as the heads of the 22 professionals chapters were voted on by the 176 members of the general assembly of the Association for the Promotion of Cinema, the umbrella body overseeing Cesar Academy. The general assembly members are in turn voted in by the some 4,700 members of the academy.
Since 2020, the Apc has stipulated gender parity across the César Academy’s Presidency, Academy Office and different chapter representatives, following accusations of lack of gender equality within its ranks...
- 5/3/2024
- by Melanie Goodfellow
- Deadline Film + TV
It’s year two for the prix André Bazin by les Cahiers du Cinéma folks and the jury of Albert Serra, Marion Cotillard, Flora Fishbach, Jeanne Lapoirie, Fernando Ganzo, Olivia Cooper-Hadjian and one reader of the magazine have bestowed the honor on Pham Thiên Ân‘s Inside the Yellow Cocoon Shell. The dreamy debut feature (my second favorite Cannes film after Glazer’s masterwork) was a Directors’ Fortnight selection and won the Camera d’Or prize in Cannes. Kino Lorber release this 177-minute gem on January 19th at the Film Linc. Here is how the jury responded to the film:
“It’s a trip we wanted to highlight tonight.…...
“It’s a trip we wanted to highlight tonight.…...
- 12/15/2023
- by Eric Lavallée
- IONCINEMA.com
Anne (Léa Drucker) is an esteemed lawyer: as uncompromising as she is in her line of work, she is free to enjoy her private life. In her ’40s she has it all, the job and the family she never thought would come. So begins Catherine Breillat’s newest film, Last Summer, which may be a remake of May el-Toukhy’s 2019 adulterous drama Queen of Hearts, but yields to the French filmmaker’s every wish. Even though we never get any backstory to Anne’s character, it’s hinted that her youth was not a pleasant one, as an early abortion took away the possibility to have children of her own. But now, in the summer of her life, she is a mother of two adopted girls and stepmother to an unruly teenager named Théo (Samuel Kircher), from her husband Pierre’s (Olivier Rabourdin) previous marriage. Amidst the idyllic rituals of daily life in the countryside,...
- 5/26/2023
- by Savina Petkova
- The Film Stage
The story template of “Homecoming” is a standard one: Years after an unexplained trauma, a family returns to the place they once called home, where hidden truths come to light and bitter conflicts arise over the course of one seemingly idyllic summer. Yet for all the secrets and lies that shape the narrative of Catherine Corsini’s straightforwardly told but consistently intriguing new film, its most interesting tensions often emerge from things its characters already know, even if they haven’t acknowledged them out loud. For Black single parent Khédidja (Aïssatou Diallo Sagna), arriving at the Corsican birthplace of her children after 15 years away, disinterring a buried past throws her maternal insecurities into sharp relief; for her teenage daughters Jessica (Suzy Bemba) and Farah (Esther Gohourou), what revelations the trip yields only underline their respective senses of not-belonging in their own small family.
This is complex, delicate material, simmering with...
This is complex, delicate material, simmering with...
- 5/17/2023
- by Guy Lodge
- Variety Film + TV
L’été dernier
After almost a decade away from the camera, Catherine Breillat makes her return behind the camera working on a remake of Queen of Hearts by Denmark’s May el-Toukhy. Saïd Ben Saïd got behind this project which features the likes of Léa Drucker, Olivier Rabourdin, Clotilde Cournau and Samuel Kircher. Production took place in June of last year in Paris with Jeanne Lapoirie enlisted as the cinematographer. We imagine this will cross moral lines, disturb some auds and we’re curious to see how much Breillat diverges from the original.
Gist: Co-written by Breillat and Maren Louise Käehne, the story revolves around a lawyer who’s a mother to two little girls and who welcomes her husband’s 17-year-old son from his first marriage into her home before going on to have an affair with him.…...
After almost a decade away from the camera, Catherine Breillat makes her return behind the camera working on a remake of Queen of Hearts by Denmark’s May el-Toukhy. Saïd Ben Saïd got behind this project which features the likes of Léa Drucker, Olivier Rabourdin, Clotilde Cournau and Samuel Kircher. Production took place in June of last year in Paris with Jeanne Lapoirie enlisted as the cinematographer. We imagine this will cross moral lines, disturb some auds and we’re curious to see how much Breillat diverges from the original.
Gist: Co-written by Breillat and Maren Louise Käehne, the story revolves around a lawyer who’s a mother to two little girls and who welcomes her husband’s 17-year-old son from his first marriage into her home before going on to have an affair with him.…...
- 1/19/2023
- by Eric Lavallée
- IONCINEMA.com
Casting is complete and cameras are currently rolling on Catherine Corsini‘s Le retour. We recently reported that Aïssatou Diallo Sagna was the first to join the project, and now we learned that Esther Gohourou (breakout in Maïmouna Doucouré’s Cuties) and Suzy Bemba will also topline the film and they’ll be supported by Lomane de Dietrich, Cédric Appietto, Marie-Ange Géronimi, Harold Orsoni, Jean Michelangeli, Virginie Ledoyen and Denis Podalydès. Cineuropa reports that Chaz Productions’ Élisabeth Perez will produce. Corsini reteams with cinematographer Jeanne Lapoirie (who has Robin Campillo’s Vazaha to be released next year). Production will last close to two months and a Cannes premiere is entirely possible.…...
- 10/2/2022
- by Eric Lavallée
- IONCINEMA.com
École de l’air
We thought there might be an outside chance that this might shore up in 2021 – but we were dead wrong as it appears that production might have taken place in several locations and over the course of more than one season/backdrop with shooting days as far back as July and as recent as this past December. Robin Campillo‘s highly anticipated fourth feature comes five years after his Cannes-winning Bpm (Beats Per Minute) in 2017. Starring Quim Gutiérrez, Nadia Tereszkiewicz, Charlie Vauselle, Sophie Guillemin, Hugues Delamarliere, David Serero, Luna Carpiaux, Mathis Piberne and Sacha Cosar-Accaoui, École de l’air was written by Campillo and filmmaker Gilles Marchand and is produced by Les Films de Pierre’s Marie-Ange Luciani while cinematographer Jeanne Lapoirie Bpm (Beats Per Minute) lens.…...
We thought there might be an outside chance that this might shore up in 2021 – but we were dead wrong as it appears that production might have taken place in several locations and over the course of more than one season/backdrop with shooting days as far back as July and as recent as this past December. Robin Campillo‘s highly anticipated fourth feature comes five years after his Cannes-winning Bpm (Beats Per Minute) in 2017. Starring Quim Gutiérrez, Nadia Tereszkiewicz, Charlie Vauselle, Sophie Guillemin, Hugues Delamarliere, David Serero, Luna Carpiaux, Mathis Piberne and Sacha Cosar-Accaoui, École de l’air was written by Campillo and filmmaker Gilles Marchand and is produced by Les Films de Pierre’s Marie-Ange Luciani while cinematographer Jeanne Lapoirie Bpm (Beats Per Minute) lens.…...
- 1/14/2022
- by Eric Lavallée
- IONCINEMA.com
The cinematography field is packed with immeasurable talent but not equal opportunities, particularly for women. When a tragedy occurs such as the loss of Halyna Hutchins, who died at 42 after being shot by a prop firearm on the set of the indie film “Rust,” the absence is felt throughout the industry.
In the 93 years of the Academy Awards, Rachel Morrison is the only woman ever to be nominated for cinematography, for her work on Dee Rees’ “Mudbound.” And the cinematographers’ branch has a poor track record for honoring diverse and inclusive artists. Case in point: A Black cinematographer has never won the category, and only two have been nominated (Remi Adefarasin for 1998’s “Elizabeth” and Bradford Young for 2016’s “Arrival”).
This year, multiple women are bringing their A-game to high-profile films. Ari Wegner creates distinct visions in Jane Campion’s “The Power of the Dog” from Netflix and Janicza Bravo’s “Zola” from A24.
In the 93 years of the Academy Awards, Rachel Morrison is the only woman ever to be nominated for cinematography, for her work on Dee Rees’ “Mudbound.” And the cinematographers’ branch has a poor track record for honoring diverse and inclusive artists. Case in point: A Black cinematographer has never won the category, and only two have been nominated (Remi Adefarasin for 1998’s “Elizabeth” and Bradford Young for 2016’s “Arrival”).
This year, multiple women are bringing their A-game to high-profile films. Ari Wegner creates distinct visions in Jane Campion’s “The Power of the Dog” from Netflix and Janicza Bravo’s “Zola” from A24.
- 11/4/2021
- by Clayton Davis
- Variety Film + TV
It’s not on the level of M*A*S*H or The Hospital, but The Divide (La Fracture) keeps you on your toes with its frenetic look at a besieged Paris emergency room hospital staff as, along with its regular patients, it tries to cope with the many people injured during a Yellow Vests protest that gets out of hand in late 2019. The French will naturally respond more directly than will foreigners to this fast-moving drama, which is peppered with some zinging dark humor, but politics take a back seat to logistical and human issues in this black comedy-laden Cannes title that ran in competition.
Although the director is little-known in the United States, this is Catherine Corsini’s 12th feature, so she obviously knows her stuff. With the crucial assistance of the you-are-there cinematography of Jeanne Lapoirie, she keeps the camera very much in the thick of things...
Although the director is little-known in the United States, this is Catherine Corsini’s 12th feature, so she obviously knows her stuff. With the crucial assistance of the you-are-there cinematography of Jeanne Lapoirie, she keeps the camera very much in the thick of things...
- 7/18/2021
- by Todd McCarthy
- Deadline Film + TV
Many of the best qualities of early and late Verhoeven combine in Benedetta, a tale of sex, blood, and sacrilege in 17th-century Italy. Based on the American historian Judith C. Brown’s 1986 non-fiction book Immoral Acts: The Life of a Lesbian Nun in Renaissance Italy (quite the title), its story focuses on the life of Benedetta Carlini, a nun in Precia who entered a sexual relationship with another woman in her convent. Paul Verhoeven originally adapted the book with his longtime collaborator Gerard Soeteman, but the screenwriter stepped down when it became too “sexualized.” In the opening act there are not one, but two fart jokes. We are also, in many instances, offered evidence of the director’s well-founded appreciation for mommy’s milkies.
Originally titled Blessed Virgin and pegged for release way back in 2019, it marks an ever-welcome return for the great director, his first outing since 2016 when Elle...
Originally titled Blessed Virgin and pegged for release way back in 2019, it marks an ever-welcome return for the great director, his first outing since 2016 when Elle...
- 7/10/2021
- by Rory O'Connor
- The Film Stage
Franco-American critic and broadcaster Iris Brey has teamed with Paris-based sales/production outfit Totem Films to adapt her 2020 book “The Female Gaze: A Screen Revolution” as a nonfiction feature.
A member of France’s 50/50 Collective and a lecturer at the University of California’s Paris campus, Brey will write and direct the upcoming film, weaving the central concern of her book – a long essay interrogating representations of female bodies and perspectives throughout film history – into a more personal onscreen exploration.
“The book has a more theoretical background to it, and can be seen as more specific or dense,” Brey tells Variety. “I want the documentary to touch a broader audience.”
The creative doc will mix first-person voiceover and newly shot footage alongside interviews and archival clips as it seeks to examine the subject in a more tactile and interactive way, assuming the broad outline of a coming-of-age tale that recounts...
A member of France’s 50/50 Collective and a lecturer at the University of California’s Paris campus, Brey will write and direct the upcoming film, weaving the central concern of her book – a long essay interrogating representations of female bodies and perspectives throughout film history – into a more personal onscreen exploration.
“The book has a more theoretical background to it, and can be seen as more specific or dense,” Brey tells Variety. “I want the documentary to touch a broader audience.”
The creative doc will mix first-person voiceover and newly shot footage alongside interviews and archival clips as it seeks to examine the subject in a more tactile and interactive way, assuming the broad outline of a coming-of-age tale that recounts...
- 1/13/2021
- by Ben Croll
- Variety Film + TV
Benedetta
Produced by Saïd Ben Saïd
Directed by Paul Verhoeven
Written by David Birke, Paul Verhoeven
Starring: Charlotte Rampling, Lambert Wilson, Virginie Efira, Olivier Rabourdin, Clotilde Courau, Daphne Patakia, Quentin D’Hainaut, Alexia Chardard, Louise Chevillotte
Cinematographer: Jeanne Lapoirie
Release Date/Prediction: Insert shooting date and location and prediction. If you used specific links copy and paste and I’ll copy and paste them.
…...
Produced by Saïd Ben Saïd
Directed by Paul Verhoeven
Written by David Birke, Paul Verhoeven
Starring: Charlotte Rampling, Lambert Wilson, Virginie Efira, Olivier Rabourdin, Clotilde Courau, Daphne Patakia, Quentin D’Hainaut, Alexia Chardard, Louise Chevillotte
Cinematographer: Jeanne Lapoirie
Release Date/Prediction: Insert shooting date and location and prediction. If you used specific links copy and paste and I’ll copy and paste them.
…...
- 1/12/2021
- by Nicholas Bell
- IONCINEMA.com
Following a backlash within its membership ranks and the resignation of its board of directors and president earlier this year, France’s Académie des Arts et Techniques du Cinéma has set new leadership. At a general assembly today, the Académie, which hands out the country’s César Awards, elected former Cnc and Arte chief Veronique Cayla as president and Intouchables co-director and filmmaker Eric Toledano as vice president. They will hold their positions for a two-year term.
The duo replaces Margaret Menegoz who was interim president following Alain Terzian’s departure in February. Terzian left amid rising controversy in the wake of this year’s César nominations which gave Roman Polanski’s An Officer And A Spy the lead at 12. The film ultimately won three prizes at the protested ceremony.
Prior to the awards, the film org was called out as “elitist and closed” by some 200 artists who said they...
The duo replaces Margaret Menegoz who was interim president following Alain Terzian’s departure in February. Terzian left amid rising controversy in the wake of this year’s César nominations which gave Roman Polanski’s An Officer And A Spy the lead at 12. The film ultimately won three prizes at the protested ceremony.
Prior to the awards, the film org was called out as “elitist and closed” by some 200 artists who said they...
- 9/29/2020
- by Nancy Tartaglione
- Deadline Film + TV
Brussels-based company Best Friend Forever has acquired Kamir Aïnouz’s promising feature debut “Honey Cigar” which was developed with the support of the Sundance Screenwriters Lab and is co-produced by Luc and Jean-Pierre Dardenne, the Palme d’Or-winning directors/producers.
Set in Paris in 1993, the film follows Selma, 17, who lives in a bourgeois and secular Berber family. When she meets Julien in college, she realizes for the first time the impact of patriarchal rules on her intimacy. While Selma discovers the strength of her own desire, fundamentalism takes over her country and her family starts to crumble.
“Honey Cigar” is being produced by French veteran producer Christine Rouxel (“Houba! On the Trail of the Marsupilami”) and Marie-Castille Mention Schaar (“Heaven Will Wait”). The movie is being co-produced by the Dardennes and Malek Ali-Yahia, as well as French star Dany Boon.
Best Friend Forever will unveil the exclusive first footage of...
Set in Paris in 1993, the film follows Selma, 17, who lives in a bourgeois and secular Berber family. When she meets Julien in college, she realizes for the first time the impact of patriarchal rules on her intimacy. While Selma discovers the strength of her own desire, fundamentalism takes over her country and her family starts to crumble.
“Honey Cigar” is being produced by French veteran producer Christine Rouxel (“Houba! On the Trail of the Marsupilami”) and Marie-Castille Mention Schaar (“Heaven Will Wait”). The movie is being co-produced by the Dardennes and Malek Ali-Yahia, as well as French star Dany Boon.
Best Friend Forever will unveil the exclusive first footage of...
- 2/18/2020
- by Elsa Keslassy
- Variety Film + TV
Red carpet protest highlighted fact only 82 women have been honoured in Official Selection over 71 editions of festival.
Cate Blanchett and Agnes Varda led 82 female industry figures in a silent ascent of the red carpet at the Cannes Film Festival on Saturday protesting the lack of female representation at the event over its 71 editions.
Moving, historic, 82 women from all countries and professions in cinema have just made the red carpet entrance for Les Filles Du Soleil (Girls Of The Sun) by Eva Husson. #Cannes2018 #Competition pic.twitter.com/0YY9SNbRqg
— Festival de Cannes (@Festival_Cannes) May 12, 2018
Other stars joining the protest...
Cate Blanchett and Agnes Varda led 82 female industry figures in a silent ascent of the red carpet at the Cannes Film Festival on Saturday protesting the lack of female representation at the event over its 71 editions.
Moving, historic, 82 women from all countries and professions in cinema have just made the red carpet entrance for Les Filles Du Soleil (Girls Of The Sun) by Eva Husson. #Cannes2018 #Competition pic.twitter.com/0YY9SNbRqg
— Festival de Cannes (@Festival_Cannes) May 12, 2018
Other stars joining the protest...
- 5/12/2018
- by Melanie Goodfellow
- ScreenDaily
“Bpm” triumphed at the César Awards, taking home the prizes for Best Film, Best Original Screenplay, Best Supporting Actor (Antoine Reinartz), Best Male Newcomer (Nahuel Pérez Biscayart), Best Original Score, and Best Editing. Robin Campillo’s drama about AIDS activists in Paris also won the Grand Prix at last year’s Cannes Film Festival, but wasn’t nominated for the Academy Award for Best Foreign-Language Film — a snub that was met with some controversy.
Andrey Zvyagintsev’s “Loveless,” which is nominated for the Oscar, won the equivalent award. Albert Dupontel’s “Au revoir là-haut” also had a big night, taking Best Director, Best Actress (Jeanne Balibar), and three other prizes. Full list of winners:
Best Film
“Bpm,” Robin Campillo
“Au revoir là-haut,” Albert Dupontel
“Barbara,” Mathieu Amalric
“Le Brio,” Yvan Attal
“Patients,” Grand Corps Malade, Mehdi Idir
“Petit Paysan,” Hubert Charuel
“C’est La Vie,” Eric Tolédano, Olivier Nakache
Best Director
Robin Campillo,...
Andrey Zvyagintsev’s “Loveless,” which is nominated for the Oscar, won the equivalent award. Albert Dupontel’s “Au revoir là-haut” also had a big night, taking Best Director, Best Actress (Jeanne Balibar), and three other prizes. Full list of winners:
Best Film
“Bpm,” Robin Campillo
“Au revoir là-haut,” Albert Dupontel
“Barbara,” Mathieu Amalric
“Le Brio,” Yvan Attal
“Patients,” Grand Corps Malade, Mehdi Idir
“Petit Paysan,” Hubert Charuel
“C’est La Vie,” Eric Tolédano, Olivier Nakache
Best Director
Robin Campillo,...
- 3/2/2018
- by Michael Nordine
- Indiewire
Gilles Lelouch in Best Film nominee C’est La Vie Photo: UniFrance
Sexually graphic AIDS activism drama 120 Bpm (Beats Per Minute), by Robin Campillo, which features in the upcoming Glasgow Film Festival, has scooped an amazing 13 nominations (tying a record) in France’s 2018 César award nominations which were announced in Paris earlier today (31 January).
Among the nominations are for Best Film, Best Director, Best Screenplay and Best Male Newcomer for its co-stars Nahuel Pérez Biscayart and Arnaud Valois, as well as Best Supporting Actor (Antoine Reinartz), Best Supporting Actress (Adele Haenel), Costumes (Isabelle Pannetier), Design (Emmanuelle Duplay), Score (Arnaud Rebotini), Cinematography (Jeanne Lapoirie) and Editing (Campillo).
Jeanne Moreau on the poster for this year’s César ceremony Photo: Academie des Césars
France’s Academy of Cinema Arts and Sciences unveiled the nominations at a news conference at Le Fouquet’s restaurant on the Champs-Elysées.
Although Camillo’s ground-breaking feature was...
Sexually graphic AIDS activism drama 120 Bpm (Beats Per Minute), by Robin Campillo, which features in the upcoming Glasgow Film Festival, has scooped an amazing 13 nominations (tying a record) in France’s 2018 César award nominations which were announced in Paris earlier today (31 January).
Among the nominations are for Best Film, Best Director, Best Screenplay and Best Male Newcomer for its co-stars Nahuel Pérez Biscayart and Arnaud Valois, as well as Best Supporting Actor (Antoine Reinartz), Best Supporting Actress (Adele Haenel), Costumes (Isabelle Pannetier), Design (Emmanuelle Duplay), Score (Arnaud Rebotini), Cinematography (Jeanne Lapoirie) and Editing (Campillo).
Jeanne Moreau on the poster for this year’s César ceremony Photo: Academie des Césars
France’s Academy of Cinema Arts and Sciences unveiled the nominations at a news conference at Le Fouquet’s restaurant on the Champs-Elysées.
Although Camillo’s ground-breaking feature was...
- 1/31/2018
- by Richard Mowe
- eyeforfilm.co.uk
A wrenching love story, set in Paris in the early 1990s, told against the background of HIV/AIDS activists battling against government and pharmaceutical indifference as they fight for their lives. The group is Act Up-Paris and the movie is Bpm (Beats Per Minute), an impassioned and incendiary cry from the heart. Director and co-writer Ron Campillo, himself an Act Up alum, uses a documentary approach to set the scene of youthful armies openly challenging a system that yawns as their casualties mount. Campillo moves his camera (Jeanne Lapoirie did the dazzling,...
- 10/20/2017
- Rollingstone.com
IndieWire reached out to the cinematographers whose films are headlining the 2017 Toronto International Film Festival to find out which cameras they used and, more importantly, why they were the right tools to create their projects.
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films “55 Steps”
Dir: Bille August, Dp: Filip Zumbrunn
Camera: Arri Alexa Mini and Amira
Lens: Cooke Panchros S2/3
Zumbrunn: “Because of the beautiful skin tones, the good latitude of the Arri-log and the reliability of the body — especially when shooting the entire movie handheld — it was clear, that we wanted to shoot on the Arri Alexa Mini. As a B-Camera body we were using an Arri Amira. We chose the vintage Cooke Panchros S2/3 together with the Tiffen Pearlescent filters to give the movie a warm, filmic and not too clean look to transport the feeling of the early eighties. And...
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films “55 Steps”
Dir: Bille August, Dp: Filip Zumbrunn
Camera: Arri Alexa Mini and Amira
Lens: Cooke Panchros S2/3
Zumbrunn: “Because of the beautiful skin tones, the good latitude of the Arri-log and the reliability of the body — especially when shooting the entire movie handheld — it was clear, that we wanted to shoot on the Arri Alexa Mini. As a B-Camera body we were using an Arri Amira. We chose the vintage Cooke Panchros S2/3 together with the Tiffen Pearlescent filters to give the movie a warm, filmic and not too clean look to transport the feeling of the early eighties. And...
- 9/8/2017
- by Chris O'Falt
- Indiewire
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force that resonates more in message than in any of the conventional, dramatic sparks you might find in a Hollywood version of this story. This is one of the most politically-minded movies to come around in quite some time as Campillo stages heated strategy sessions between the activists of Act Up like a Godard cinematic political essay post-La Chinoise. Through effective direction, the activism on display here is inspiring enough to rile one up to set aside preoccupations and try to make a difference in the world.
Campillo hasn’t really made a splash as a director over the years, unless you count 2013’s vastly underseen (at least stateside) Eastern Boys.
Campillo hasn’t really made a splash as a director over the years, unless you count 2013’s vastly underseen (at least stateside) Eastern Boys.
- 5/21/2017
- by The Film Stage
- The Film Stage
IndieWire reached out to the filmmakers whose films (and TV shows!) are premiering at the Cannes Film Festival to find out what cameras they used and, more importantly, why they were the right tools to create their projects.
Read More: Cannes 2017 – 22 Films We Can’t Wait to See at This Year’s Festival
Before we dive into the details, here’s three big trends that we saw in their answers:
1. Shooting on film continues its comeback around the globe.
2. Arri continues its digital dominance in the narrative feature film space. We saw this at Sundance as well: Increasingly, smaller productions with the need to be flexible and mobile are turning to the small-bodied Alexa Mini.
3. Filmmakers are applying unique techniques to create different looks. From the Safdie Brothers adapting the 2-perf method of the old spaghetti westerns, to “Wonderstruck” mirroring the shooting style of the ’20s and ’70s, to Sean Baker...
Read More: Cannes 2017 – 22 Films We Can’t Wait to See at This Year’s Festival
Before we dive into the details, here’s three big trends that we saw in their answers:
1. Shooting on film continues its comeback around the globe.
2. Arri continues its digital dominance in the narrative feature film space. We saw this at Sundance as well: Increasingly, smaller productions with the need to be flexible and mobile are turning to the small-bodied Alexa Mini.
3. Filmmakers are applying unique techniques to create different looks. From the Safdie Brothers adapting the 2-perf method of the old spaghetti westerns, to “Wonderstruck” mirroring the shooting style of the ’20s and ’70s, to Sean Baker...
- 5/17/2017
- by Chris O'Falt
- Indiewire
Horse & Carriage: The Elkabetzs’ Kafkaesque Interpretation of So-Called Sacred Institution
The third film in a trilogy examining the relationship between a husband and wife comes full circle with Gett: The Trial of Viviane Amsalem, a viciously astute examination of Israel’s divorce procedures. Brother and sister directing duo Roni and Schlomi Elkabetz began their enterprise back in 2004 with To Take a Wife, which continued with 7 Days in 2007, though it isn’t necessary to have seen either of these features to appreciate what they’re doing here with this deliciously crafted drama that’s as infuriating as it is highly engrossing. If on paper it sounds like a tedious slog of a subject matter, put aside those assumptions because the Elkabetzs’ have made an invigorating, emotionally charged powder keg, a film that simultaneously harpoons the misogynistic practices of the rabbinical courts just as it gives powerful agency to its highly determined female protagonist.
The third film in a trilogy examining the relationship between a husband and wife comes full circle with Gett: The Trial of Viviane Amsalem, a viciously astute examination of Israel’s divorce procedures. Brother and sister directing duo Roni and Schlomi Elkabetz began their enterprise back in 2004 with To Take a Wife, which continued with 7 Days in 2007, though it isn’t necessary to have seen either of these features to appreciate what they’re doing here with this deliciously crafted drama that’s as infuriating as it is highly engrossing. If on paper it sounds like a tedious slog of a subject matter, put aside those assumptions because the Elkabetzs’ have made an invigorating, emotionally charged powder keg, a film that simultaneously harpoons the misogynistic practices of the rabbinical courts just as it gives powerful agency to its highly determined female protagonist.
- 2/11/2015
- by Nicholas Bell
- IONCINEMA.com
Mads Mikkelsen has one of the most expressive faces in cinema today. Emotional, challenging, demanding and domineering, and this is before he ever bats an eye, furrows his brow or says a word. For these reasons I was able to stay with Michael Kohlhaas for the better part of an hour, but then it began to wear on me, though not in a way that had me giving up on it. It's not that the narrative is slow, in fact it's rather lyrical, but director Arnaud des Pallieres is overly patient, lingering from one scene to the next. Many, if not most, scenes could be chopped down by 10-15 seconds, making room for more story. While des Pallieres is committed to the story of his title character, he forgets to show us more of his actions after a lovely set up, all leading to an emotional conclusion, that would have...
- 5/24/2013
- by Brad Brevet
- Rope of Silicon
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