An autumn theatrical release is planned.
Joanna Hogg’s gothic ghost story The Eternal Daughter has been acquired for distribution in the UK and Ireland by BFI Distribution.
The UK-us production marks the BFI’s second acquisition from A24, following God’s Creatures earlier this year.
A theatrical release is planned for autumn. It will also form part of a Joanna Hogg retrospective season running at BFI Southbank, also taking place in the autumn.
The film, which premiered at Venice, tells the story of an artist and her elderly mother confront long-buried secrets when they return to a former family home,...
Joanna Hogg’s gothic ghost story The Eternal Daughter has been acquired for distribution in the UK and Ireland by BFI Distribution.
The UK-us production marks the BFI’s second acquisition from A24, following God’s Creatures earlier this year.
A theatrical release is planned for autumn. It will also form part of a Joanna Hogg retrospective season running at BFI Southbank, also taking place in the autumn.
The film, which premiered at Venice, tells the story of an artist and her elderly mother confront long-buried secrets when they return to a former family home,...
- 3/22/2023
- by Mona Tabbara
- ScreenDaily
Distribution
BFI Distribution has acquired Joanna Hogg’s gothic ghost story “The Eternal Daughter,” starring Tilda Swinton in a dual role, for theatrical release in the U.K. and Ireland and will release in cinemas this fall. In the film, an artist and her elderly mother confront long-buried secrets when they return to a former family home, now a hotel haunted by its mysterious past.
The film had its world premiere at Venice in 2022 and also screened at the London and Toronto festivals. Alongside its wider distribution, it will also screen at London’s BFI Southbank as part of a complete Hogg retrospective season, which will run alongside a program of films that have influenced her work. The film is the BFI’s second acquisition from A24, following “God’s Creatures” earlier this year.
Executive produced by Martin Scorsese and Rose Garnett and coproduced by Eimhear McMahon, the film is produced by Hogg alongside Ed Guiney,...
BFI Distribution has acquired Joanna Hogg’s gothic ghost story “The Eternal Daughter,” starring Tilda Swinton in a dual role, for theatrical release in the U.K. and Ireland and will release in cinemas this fall. In the film, an artist and her elderly mother confront long-buried secrets when they return to a former family home, now a hotel haunted by its mysterious past.
The film had its world premiere at Venice in 2022 and also screened at the London and Toronto festivals. Alongside its wider distribution, it will also screen at London’s BFI Southbank as part of a complete Hogg retrospective season, which will run alongside a program of films that have influenced her work. The film is the BFI’s second acquisition from A24, following “God’s Creatures” earlier this year.
Executive produced by Martin Scorsese and Rose Garnett and coproduced by Eimhear McMahon, the film is produced by Hogg alongside Ed Guiney,...
- 3/22/2023
- by Naman Ramachandran
- Variety Film + TV
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Whether onstage or onscreen, Ruth Wilson has never shied from intimate and demanding scenes, and she’s got plenty in her new film, True Things.
Based on the book by Deborah Kay Davies, it casts Wilson as Kate, a benefits worker who can’t resist a torrid affair with an ex-con known only as “Blond,” played by Tom Burke. Wilson says the pair and filmmaker Harry Wootliff loved working with “the queen of intimacy coaching,” Ita O’Brien.
“She was brilliant,” recalls Wilson, who reportedly left The Affair over issues with the way nude scenes on Showtime series were handled, among other concerns. “I’m really hoping it results in more interesting sex scenes on our screens because there’s a dialogue now and there wasn’t one before. Having an intimacy coach now means the discussion can happen in a pragmatic, practical, rational way.
Whether onstage or onscreen, Ruth Wilson has never shied from intimate and demanding scenes, and she’s got plenty in her new film, True Things.
Based on the book by Deborah Kay Davies, it casts Wilson as Kate, a benefits worker who can’t resist a torrid affair with an ex-con known only as “Blond,” played by Tom Burke. Wilson says the pair and filmmaker Harry Wootliff loved working with “the queen of intimacy coaching,” Ita O’Brien.
“She was brilliant,” recalls Wilson, who reportedly left The Affair over issues with the way nude scenes on Showtime series were handled, among other concerns. “I’m really hoping it results in more interesting sex scenes on our screens because there’s a dialogue now and there wasn’t one before. Having an intimacy coach now means the discussion can happen in a pragmatic, practical, rational way.
- 9/5/2022
- by Chris Gardner
- The Hollywood Reporter - Movie News
Director searching for numbering tape to help finish editing his next and possibly last narrative feature, Jimmy’s Hall.
Ken Loach is appealing to editors and post production houses to find a batch of film numbering tape - essential to help finish editing his upcoming feature Jimmy’s Hall.
The British director, best known for films such as The Wind That Shakes the Barley and Kes, has resisted the move to digital and still works on a Steenbeck, cutting physical film stock with editor Jonathan Morris.
But with the widespread move to digital, Loach believes Jimmy’s Hall could be the last feature film to use the flatbed editor and, less than two weeks into the cutting process, supplies are running out.
Speaking from the cutting room at Goldcrest Post London, Loach told ScreenDaily: “We’re making a start and putting the scenes together. But we’re finding that one or two of the support services are fading...
Ken Loach is appealing to editors and post production houses to find a batch of film numbering tape - essential to help finish editing his upcoming feature Jimmy’s Hall.
The British director, best known for films such as The Wind That Shakes the Barley and Kes, has resisted the move to digital and still works on a Steenbeck, cutting physical film stock with editor Jonathan Morris.
But with the widespread move to digital, Loach believes Jimmy’s Hall could be the last feature film to use the flatbed editor and, less than two weeks into the cutting process, supplies are running out.
Speaking from the cutting room at Goldcrest Post London, Loach told ScreenDaily: “We’re making a start and putting the scenes together. But we’re finding that one or two of the support services are fading...
- 10/24/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
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