The fourth edition of Animation Day, which is part of the Cannes Film Festival’s Market, will take place on May 22.
A one-day event aimed at the global animation filmmaking community, it is a joint initiative launched in 2019 by the Cannes Film Market and the Annecy Intl. Animation Film Festival, in partnership with Animation! Ventana Sur, the animation branch of Latin America’s leading film market.
This edition will kick off with the Annecy Goes to Cannes pitching sessions, featuring five works-in-progress projects at various stages of development. Attendees will also be able to attend a morning panel discussion entitled “What Is Adult Animation Film’s Strategy and Where Is It Headed?,” which will address the question of the animated film offer for adults, both in theaters and on smaller screens, as viewing habits evolve.
Panelists include Dutch-born French filmmaker Jan Kounen, who is also presenting his latest project “Epiphania” in the pitching sessions,...
A one-day event aimed at the global animation filmmaking community, it is a joint initiative launched in 2019 by the Cannes Film Market and the Annecy Intl. Animation Film Festival, in partnership with Animation! Ventana Sur, the animation branch of Latin America’s leading film market.
This edition will kick off with the Annecy Goes to Cannes pitching sessions, featuring five works-in-progress projects at various stages of development. Attendees will also be able to attend a morning panel discussion entitled “What Is Adult Animation Film’s Strategy and Where Is It Headed?,” which will address the question of the animated film offer for adults, both in theaters and on smaller screens, as viewing habits evolve.
Panelists include Dutch-born French filmmaker Jan Kounen, who is also presenting his latest project “Epiphania” in the pitching sessions,...
- 5/17/2022
- by Lise Pedersen
- Variety Film + TV
The French distributor of Terry Gilliam's embattled The Man Who Shot Don Quixote has hit back at a lawsuit aimed at stopping the film from having its world premiere in Cannes.
The strongly worded four-page statement from Philippe Aigle of Ocean Films on behalf of the film’s current producers comes just a week after Portuguese producer Paulo Branco of Alfama Films revealed that he had begun legal action to prevent the festival from screening the film. That decision will be handed down Monday, May 7.
In his suit, Branco claims that the film cannot be shown without the agreement of its producer.
...
The strongly worded four-page statement from Philippe Aigle of Ocean Films on behalf of the film’s current producers comes just a week after Portuguese producer Paulo Branco of Alfama Films revealed that he had begun legal action to prevent the festival from screening the film. That decision will be handed down Monday, May 7.
In his suit, Branco claims that the film cannot be shown without the agreement of its producer.
...
- 5/2/2018
- by Rhonda Richford,Alex Ritman
- The Hollywood Reporter - Movie News
The French distributor of Terry Gilliam's embattled <em>The Man Who Shot Don Quixote</em> has hit back at a lawsuit aimed at stopping the film from having its world premiere in Cannes.
The strongly worded four-page statement from Philippe Aigle of Ocean Films on behalf of the film’s current producers comes just a week after Portuguese producer Paulo Branco of Alfama Films revealed that he had begun legal action to prevent the festival from screening the film. That decision will be handed down Monday, May 7.
In his suit, Branco claims that the film cannot be shown without the ...
The strongly worded four-page statement from Philippe Aigle of Ocean Films on behalf of the film’s current producers comes just a week after Portuguese producer Paulo Branco of Alfama Films revealed that he had begun legal action to prevent the festival from screening the film. That decision will be handed down Monday, May 7.
In his suit, Branco claims that the film cannot be shown without the ...
It’s the latest twist in the legal battle over who owns the rights to the film.
Producer Paulo Branco is seeking an injunction against the Cannes Film Festival in a bid to halt the screening of Terry Gilliam’s The Man Who Killed Don Quixote at its 71st edition next month, in the latest twist in the legal battle over who owns the rights to the film.
“Alfama Films Production has been granted permission to obtain a writ against the Cannes Film Festival and will ask the president of the Paris District Court to impose a ban on the...
Producer Paulo Branco is seeking an injunction against the Cannes Film Festival in a bid to halt the screening of Terry Gilliam’s The Man Who Killed Don Quixote at its 71st edition next month, in the latest twist in the legal battle over who owns the rights to the film.
“Alfama Films Production has been granted permission to obtain a writ against the Cannes Film Festival and will ask the president of the Paris District Court to impose a ban on the...
- 4/25/2018
- by Melanie Goodfellow
- ScreenDaily
It’s the latest twist in the legal battle over who owns the rights to the film.
Producer Paulo Branco has obtained a court order against the Cannes Film Festival in a bid to halt the screening of Terry Gilliam’s The Man Who Killed Don Quixote at its 71st edition next month, in the latest twist in the legal battle over who owns the rights to the film.
“Alfama Films Production has obtained permission to issue a writ against the Cannes Film Festival and will ask the president of the Paris District Court to impose a ban on the...
Producer Paulo Branco has obtained a court order against the Cannes Film Festival in a bid to halt the screening of Terry Gilliam’s The Man Who Killed Don Quixote at its 71st edition next month, in the latest twist in the legal battle over who owns the rights to the film.
“Alfama Films Production has obtained permission to issue a writ against the Cannes Film Festival and will ask the president of the Paris District Court to impose a ban on the...
- 4/25/2018
- by Melanie Goodfellow
- ScreenDaily
By now the phenomenon of a director remaking one of his own movies is hardly novel.
Alfred Hitchcock made two versions of The Man Who Knew Too Much, and Frank Capra turned Lady for a Day into the more lavish Pocketful of Miracles.
There even are cases of foreign directors helming the American remakes of their own hit movies. Francis Veber directed both the original French version of Les Fugitifs and the Hollywood version, Three Fugitives, with Nick Nolte and Martin Short.
But I'm not sure there has ever been anything comparable to the new version of Funny Games, in which Austrian director Michael Haneke has produced a shot-for-shot replica of his 1997 German-language movie.
Some will question whether we needed even one version of this unsavory story. No doubt Haneke would argue that the original had such a limited audience in America that a remake starring Oscar nominees Naomi Watts and Tim Roth, along with Michael Pitt, will bring the story to lots of new viewers. But does this exercise in sadism and psychological torture deserve a larger audience, or any audience at all?
That point will be argued by critics, though there's no disputing the fact that this film, like the original, is compelling and exceptionally well acted. It probably will develop a cult following, like all of Haneke's work.
Ann (Watts), her husband George (Roth), and their son Georgie (Devon Gearhart) arrive at their secluded vacation home on Long Island in the movie's opening scene. As they are settling in, they are greeted by two polite but slightly creepy young men (Pitt, Brady Corbet), who claim to be visiting one of their neighbors and need to borrow some eggs.
The interlopers, who call themselves Paul and Peter, quickly insinuate themselves into the household, incapacitate George, and hold the family captive as they initiate a series of increasingly sadistic games. The tension mounts as Georgie and Ann try to escape, which only stokes the cruelty of their captors. Haneke keeps the most horrific violence offscreen, but that does not mute the impact of these degrading and ruthless exercises.
Viewers who hope to glean some sociological or psychological insights will be disappointed. At one point Paul gives a lengthy, completely fictitious profile of his cohort, just to mock those who seek an explanation for such violent antisocial behavior. The two boys dressed in white are meant to be evil incarnate -- motiveless, unfathomable, inescapable.
The only comprehensible comment that the film makes is about itself and the role of cinema in encouraging voyeurism and tolerance for violence. (This theme also was at the heart of Haneke's most acclaimed film, Cache.)
There's an intriguing moment, identical in both the Austrian and American films, in which Paul uses a TV remote control to rewind the action we have seen and replay a different version. Even though the director might want us to contemplate the audience's role in sanctioning violence, he can't escape the whiff of exploitation that infects both movies.
Still, this version, like the earlier one, is skillfully executed. Roth doesn't match the gravitas of the late Ulrich Muhe, who played the husband in the 1997 film, but he's affecting. Watts is superb in conveying the emotional anguish of her character. Pitt demonstrates his versatility with an electrifying portrayal of the sinister, soulless Paul. The only weak link in the cast is Corbet, who was convincing in more sympathetic roles in "thirteen" and Mysterious Skin, but doesn't exude enough menace as Pitt's baby-faced accomplice.
Cinematographer Darius Khondji gives an ominous edge to the sun-dappled locations, which look remarkably like the settings in the European film. Even the music selections are virtually identical in the two films. Perhaps the best way to appreciate the picture, its few intellectual pretensions notwithstanding, is as a classy horror film with a particularly nasty edge. It's not exactly entertainment, but it casts a poisonous spell.
FUNNY GAMES U.S.
Warner Independent Pictures
Celluloid Dreams, Halcyon Pictures, Tartan Films, X-Filme International
Credits:
Screenwriter-director: Michael Haneke
Producers: Chris Coen, Hamish McAlpine, Hengameh Panahi, Christian Baute, Andro Steinborn
Executive producers: Naomi Watts, Philippe Aigle, Carole Siller, Douglas Steiner
Director of photography: Darius Khondji
Production designer: Kevin Thompson
Co-producers: Andrea Occhipinti, Rene Bastian, Linda Moran, Adam Brightman, Jonathan Schwartz
Costume designer: David Robinson
Editor: Monika Willi
Cast:
Ann: Naomi Watts
George: Tim Roth
Paul: Michael Pitt
Peter: Brady Corbet
Georgie: Devon Gearhart
Fred: Boyd Gaines
Betsy: Siobhan Fallon Hogan
Running time -- 110 minutes
MPAA rating: R...
Alfred Hitchcock made two versions of The Man Who Knew Too Much, and Frank Capra turned Lady for a Day into the more lavish Pocketful of Miracles.
There even are cases of foreign directors helming the American remakes of their own hit movies. Francis Veber directed both the original French version of Les Fugitifs and the Hollywood version, Three Fugitives, with Nick Nolte and Martin Short.
But I'm not sure there has ever been anything comparable to the new version of Funny Games, in which Austrian director Michael Haneke has produced a shot-for-shot replica of his 1997 German-language movie.
Some will question whether we needed even one version of this unsavory story. No doubt Haneke would argue that the original had such a limited audience in America that a remake starring Oscar nominees Naomi Watts and Tim Roth, along with Michael Pitt, will bring the story to lots of new viewers. But does this exercise in sadism and psychological torture deserve a larger audience, or any audience at all?
That point will be argued by critics, though there's no disputing the fact that this film, like the original, is compelling and exceptionally well acted. It probably will develop a cult following, like all of Haneke's work.
Ann (Watts), her husband George (Roth), and their son Georgie (Devon Gearhart) arrive at their secluded vacation home on Long Island in the movie's opening scene. As they are settling in, they are greeted by two polite but slightly creepy young men (Pitt, Brady Corbet), who claim to be visiting one of their neighbors and need to borrow some eggs.
The interlopers, who call themselves Paul and Peter, quickly insinuate themselves into the household, incapacitate George, and hold the family captive as they initiate a series of increasingly sadistic games. The tension mounts as Georgie and Ann try to escape, which only stokes the cruelty of their captors. Haneke keeps the most horrific violence offscreen, but that does not mute the impact of these degrading and ruthless exercises.
Viewers who hope to glean some sociological or psychological insights will be disappointed. At one point Paul gives a lengthy, completely fictitious profile of his cohort, just to mock those who seek an explanation for such violent antisocial behavior. The two boys dressed in white are meant to be evil incarnate -- motiveless, unfathomable, inescapable.
The only comprehensible comment that the film makes is about itself and the role of cinema in encouraging voyeurism and tolerance for violence. (This theme also was at the heart of Haneke's most acclaimed film, Cache.)
There's an intriguing moment, identical in both the Austrian and American films, in which Paul uses a TV remote control to rewind the action we have seen and replay a different version. Even though the director might want us to contemplate the audience's role in sanctioning violence, he can't escape the whiff of exploitation that infects both movies.
Still, this version, like the earlier one, is skillfully executed. Roth doesn't match the gravitas of the late Ulrich Muhe, who played the husband in the 1997 film, but he's affecting. Watts is superb in conveying the emotional anguish of her character. Pitt demonstrates his versatility with an electrifying portrayal of the sinister, soulless Paul. The only weak link in the cast is Corbet, who was convincing in more sympathetic roles in "thirteen" and Mysterious Skin, but doesn't exude enough menace as Pitt's baby-faced accomplice.
Cinematographer Darius Khondji gives an ominous edge to the sun-dappled locations, which look remarkably like the settings in the European film. Even the music selections are virtually identical in the two films. Perhaps the best way to appreciate the picture, its few intellectual pretensions notwithstanding, is as a classy horror film with a particularly nasty edge. It's not exactly entertainment, but it casts a poisonous spell.
FUNNY GAMES U.S.
Warner Independent Pictures
Celluloid Dreams, Halcyon Pictures, Tartan Films, X-Filme International
Credits:
Screenwriter-director: Michael Haneke
Producers: Chris Coen, Hamish McAlpine, Hengameh Panahi, Christian Baute, Andro Steinborn
Executive producers: Naomi Watts, Philippe Aigle, Carole Siller, Douglas Steiner
Director of photography: Darius Khondji
Production designer: Kevin Thompson
Co-producers: Andrea Occhipinti, Rene Bastian, Linda Moran, Adam Brightman, Jonathan Schwartz
Costume designer: David Robinson
Editor: Monika Willi
Cast:
Ann: Naomi Watts
George: Tim Roth
Paul: Michael Pitt
Peter: Brady Corbet
Georgie: Devon Gearhart
Fred: Boyd Gaines
Betsy: Siobhan Fallon Hogan
Running time -- 110 minutes
MPAA rating: R...
- 3/10/2008
- The Hollywood Reporter - Movie News
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