Two of France’s fastest-rising young stars, Lyna Khoudri and Rio Vega, will lead the French voice cast of animated feature “In Waves,” an unconditional first love story, and tale of loss and memories adapting American illustrator Aj Dungo’s same-titled multi-prized graphic novel.
An anticipated banner prestige animation title from Paris-based Silex Films, “In Waves” lead producer, the feature also marks the first animated co-production of both Anonymous Content and Charades, behind sales of Jeremy Clapin’s “I Lost My Body” and Mamoru Hosoda’s “Mirai,” both Oscar nominated titles.
In Waves is directed by Phuong Mai Nguyen, a former student of French animation schools Gobelins and La Poudrière who helmed episodes of the Silex-produced animated series “Brazen” and was Oscar-shortlisted for her short “My Home,” “In Waves” has just been announced as one of five titles at the Annecy Animation Showcase, part of Cannes’ Animation Day on May...
An anticipated banner prestige animation title from Paris-based Silex Films, “In Waves” lead producer, the feature also marks the first animated co-production of both Anonymous Content and Charades, behind sales of Jeremy Clapin’s “I Lost My Body” and Mamoru Hosoda’s “Mirai,” both Oscar nominated titles.
In Waves is directed by Phuong Mai Nguyen, a former student of French animation schools Gobelins and La Poudrière who helmed episodes of the Silex-produced animated series “Brazen” and was Oscar-shortlisted for her short “My Home,” “In Waves” has just been announced as one of five titles at the Annecy Animation Showcase, part of Cannes’ Animation Day on May...
- 4/23/2024
- by John Hopewell
- Variety Film + TV
Acclaimed auteurs Francis Ford Coppola, Yorgos Lanthimos, Paolo Sorrentino and Andrea Arnold are among the filmmakers set to compete for the coveted Palme d’Or at the 77th Cannes Film Festival.
A total of 19 features were revealed today (April 11) that will play in Competition at the festival, set to run May 14-25.
Rarely a festival to veer far from familiar names, the Competition line-up is dominated by directors who have been selected multiple times for Cannes.
They include US filmmaker Coppola with sci-fi epic Megalopolis, which stars Adam Driver and is set in a future version of New York City following a disaster.
A total of 19 features were revealed today (April 11) that will play in Competition at the festival, set to run May 14-25.
Rarely a festival to veer far from familiar names, the Competition line-up is dominated by directors who have been selected multiple times for Cannes.
They include US filmmaker Coppola with sci-fi epic Megalopolis, which stars Adam Driver and is set in a future version of New York City following a disaster.
- 4/11/2024
- ScreenDaily
Christophe Honoré's Winter Boy is now showing exclusively on Mubi starting April 28, 2023, in many countries in the series Luminaries.When Antoine Doinel first dons his checkered jacket and roams the streets of Paris in François Truffaut’s The 400 Blows (1959), the city air is so cold that his breath clouds the frame. Truffaut’s wintry film is a tale of isolation and frustration in the life of the young Doinel, a misbehaving schoolboy bored by la dictée and the stifling teachings of his professor. Out in the frostbitten night, he sleeps in a printing press and steals a typewriter, evoking his search for his own liberation and words to live by. To everyone else, he appears a troubled youth in need of institutionalization. To Truffaut, he is his younger self looking for his identity and the means to express it, a memory committed to film. When a filmmaker sets...
- 5/2/2023
- MUBI
Grief is by no means a universally relatable subject; we may all encounter it, but the manner in which we process it very rarely translates directly to somebody else’s personal experiences. This is something filmmaker Christophe Honoré has an innate awareness of, with his latest film Winter Boy attempting to address his own formative experience of grief without simply resorting to a semi-autobiographical work. So he doesn’t leave these still-raw emotions confined within a period setting, rendering that adolescent pain a distant memory. He’s attempting to address them via a contemporary coming-of-age tale––one that may share resemblances to his own youth but refuses to simply revisit it.
It’s an intriguing approach for the writer-director to take, and one that didn’t entirely work. Though many moments are keenly felt, especially whenever the sibling relationship takes center stage, there are just as many that lack an...
It’s an intriguing approach for the writer-director to take, and one that didn’t entirely work. Though many moments are keenly felt, especially whenever the sibling relationship takes center stage, there are just as many that lack an...
- 4/27/2023
- by Alistair Ryder
- The Film Stage
AIDS is ever present in Christophe Honoré’s 2018 film Sorry Angel. But rather than dictate the choices and emotions of the characters, the disease simply colors their experiences, serving as a filter through which they see the world. In Winter Boy, Honoré approaches grief in a similarly subtle, intriguingly indirect manner. Where many films show grief merely as a crippling hindrance, Winter Boy sees it as an emotional state that constantly rises and recedes, disrupting the flow and morphing the meaning of everyday experience.
Honoré himself plays a soon-to-be-deceased father, Claude, immediately alluding to the personal nature of the film, which is based on his experiences after losing his own father. Winter Boy’s main focus, though, is Claude’s 17-year-old son, Lucas (Paul Kircher), who’s the same age that Honoré was when his father died, and who faces the aftermath of this loss with his mother, Isabelle (Juliette Binoche), and older brother,...
Honoré himself plays a soon-to-be-deceased father, Claude, immediately alluding to the personal nature of the film, which is based on his experiences after losing his own father. Winter Boy’s main focus, though, is Claude’s 17-year-old son, Lucas (Paul Kircher), who’s the same age that Honoré was when his father died, and who faces the aftermath of this loss with his mother, Isabelle (Juliette Binoche), and older brother,...
- 4/24/2023
- by Derek Smith
- Slant Magazine
Christophe Honoré with Anne-Katrin Titze at Rendez-Vous with French Cinema in New York Photo: Anne-Katrin Titze
Christophe Honoré (Winter Boy), Florent Gouëlou (Three Nights A Week), Vuk Lungulov-Klotz (Mutt), and Georden West (Playland), will participate in a Rendez-Vous with French Cinema Free Talk: Queer Identities On Screen, moderated by filmmaker and Cuny professor Yoruba Richen (director of The Green Book: Guide to Freedom) on Friday, March 10 at 4:00pm inside the Amphitheater of the Elinor Bunin Munroe Film Center.
Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph
Christophe is also presenting Dans Paris and Sorry Angel, Alain Resnais’s Providence, Catherine Breillat’s 36 Fillette, and Kenneth Lonergan’s Manchester By The Sea in Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph this weekend, curated by Uptown Flicks Adeline Monzier with the support of Unifrance and Villa Albertine.
“As a queer auteur and a...
Christophe Honoré (Winter Boy), Florent Gouëlou (Three Nights A Week), Vuk Lungulov-Klotz (Mutt), and Georden West (Playland), will participate in a Rendez-Vous with French Cinema Free Talk: Queer Identities On Screen, moderated by filmmaker and Cuny professor Yoruba Richen (director of The Green Book: Guide to Freedom) on Friday, March 10 at 4:00pm inside the Amphitheater of the Elinor Bunin Munroe Film Center.
Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph
Christophe is also presenting Dans Paris and Sorry Angel, Alain Resnais’s Providence, Catherine Breillat’s 36 Fillette, and Kenneth Lonergan’s Manchester By The Sea in Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph this weekend, curated by Uptown Flicks Adeline Monzier with the support of Unifrance and Villa Albertine.
“As a queer auteur and a...
- 3/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Music Box Films has picked up US rights to Lost Illusions (Illusions Perdues), Xavier Giannoli’s adaptation of the classic Honoré de Balzac comedic novel starring Summer of ’85 actor Benjamin Voisin. Cécile de France (The French Dispatch), Xavier Dolan (I Killed My Mother), Vincent Lacoste (Sorry Angel) and Gérard Depardieu co-star.
Lost Illusions premiered in competition at the Venice Film Festival this year. It will have its North American premiere as the closing film at Hollywood’s Colcoa French Film Festival on Sunday, Nov. 7. The film will have its French bow on Oct. 20.
Music Box is planning a theatrical release followed by ...
Lost Illusions premiered in competition at the Venice Film Festival this year. It will have its North American premiere as the closing film at Hollywood’s Colcoa French Film Festival on Sunday, Nov. 7. The film will have its French bow on Oct. 20.
Music Box is planning a theatrical release followed by ...
- 10/19/2021
- The Hollywood Reporter - Film + TV
Music Box Films has picked up US rights to Lost Illusions (Illusions Perdues), Xavier Giannoli’s adaptation of the classic Honoré de Balzac comedic novel starring Summer of ’85 actor Benjamin Voisin. Cécile de France (The French Dispatch), Xavier Dolan (I Killed My Mother), Vincent Lacoste (Sorry Angel) and Gérard Depardieu co-star.
Lost Illusions premiered in competition at the Venice Film Festival this year. It will have its North American premiere as the closing film at Hollywood’s Colcoa French Film Festival on Sunday, Nov. 7. The film will have its French bow on Oct. 20.
Music Box is planning a theatrical release followed by ...
Lost Illusions premiered in competition at the Venice Film Festival this year. It will have its North American premiere as the closing film at Hollywood’s Colcoa French Film Festival on Sunday, Nov. 7. The film will have its French bow on Oct. 20.
Music Box is planning a theatrical release followed by ...
- 10/19/2021
- The Hollywood Reporter - Movie News
Léa Drucker, Alban Lenoir, Denis Podalydès, Benjamin Biolay and Jeanne Rosa all star in the cast of this Fin Août production, sold by Pyramide. Having kicked off on 27 January, shooting on Le Monde d’hier, Diastème’s 4th feature film after Sunny Spells (2008), French Blood (screened in Toronto’s Platform competition in 2015) and The Summer of All My Parents (2016), is scheduled to wrap on 27 February. Gracing the cast of this political thriller are Léa Drucker, Alban Lenoir, Denis Podalydès (recently nominated for 2019’s Best Supporting Role César thanks to Sorry Angel, well-received in last year’s Delete History and hitting screens this year courtesy of French...
French actress and singer Vanessa Paradis will head up the jury of this year’s socially-distanced Deauville American Film Festival. The event, which runs in the French seaside town Sept. 4-13, will be one of the first film festivals to be held in the post-covid-19 era.
Paradis will oversee a competition jury that includes her Knife + Heart director Yann Gonzalez, fellow French actors Zita Hanrot (Fatima) and Vincent Lacoste (Sorry Angel), director Bruno Podalydes (The Sweet Escape), producer Sylvie Pialat (Timbuktu), the author Delphine Horvilleur and French rapper Oxmo Puccino. They will pick this year’s Deauville winners, which will be ...
Paradis will oversee a competition jury that includes her Knife + Heart director Yann Gonzalez, fellow French actors Zita Hanrot (Fatima) and Vincent Lacoste (Sorry Angel), director Bruno Podalydes (The Sweet Escape), producer Sylvie Pialat (Timbuktu), the author Delphine Horvilleur and French rapper Oxmo Puccino. They will pick this year’s Deauville winners, which will be ...
- 8/18/2020
- The Hollywood Reporter - Movie News
French actress and singer Vanessa Paradis will head up the jury of this year’s socially-distanced Deauville American Film Festival. The event, which runs in the French seaside town Sept. 4-13, will be one of the first film festivals to be held in the post-covid-19 era.
Paradis will oversee a competition jury that includes her Knife + Heart director Yann Gonzalez, fellow French actors Zita Hanrot (Fatima) and Vincent Lacoste (Sorry Angel), director Bruno Podalydes (The Sweet Escape), producer Sylvie Pialat (Timbuktu), the author Delphine Horvilleur and French rapper Oxmo Puccino. They will pick this year’s Deauville winners, which will be ...
Paradis will oversee a competition jury that includes her Knife + Heart director Yann Gonzalez, fellow French actors Zita Hanrot (Fatima) and Vincent Lacoste (Sorry Angel), director Bruno Podalydes (The Sweet Escape), producer Sylvie Pialat (Timbuktu), the author Delphine Horvilleur and French rapper Oxmo Puccino. They will pick this year’s Deauville winners, which will be ...
- 8/18/2020
- The Hollywood Reporter - Film + TV
"What if you gave back what you took?" Strand Releasing has debuted an official Us trailer for a film titled On a Magical Night, a French comedy formerly known as Chambre 212 (aka Room 212) when it initially premiered at the Cannes Film Festival last year. This is the latest from sultry French filmmaker Christophe Honoré and deals with a woman who leaves her husband and moves into a hotel opposite of her home. There she wonders if she made the right decision, re-examining her entire life with him. Award-winning French actress Chiara Mastroianni stars, with Benjamin Biolay, Vincent Lacoste, Camille Cottin, and Carole Bouquet. Nothing like a French comedy about infidelity and marriage, right? This one looks whimsical and amusing. Here's the official Us trailer (+ posters) for Christophe Honoré's On a Magical Night, from YouTube: After 20 years of marriage, Maria (Chiara Mastroianni) decides to leave. She moves to...
- 5/7/2020
- by Alex Billington
- firstshowing.net
A zesty palate cleanser of sorts after his wrenching “Sorry Angel” — but in some ways a much weightier film than writer-director Christophe Honoré has left himself the strength to carry — “On a Magical Night” is a fanciful tale of marriage and its malcontents;
Honoré says he was desperate to film Chiara Mastroianni’s “anxious forehead and ironic dimples,” so he cast the French actress as Maria, a historian in her late 40s who’s having a clandestine (but rather unapologetic) affair with a twentysomething student whose name sounds like an anagram for sexual misadventure: Asdrubal Electorat. Maria finds that kinda funny; her devout and tender husband Richard (Benjamin Biolay) does not. He boots her from their Paris apartment shortly after the truth comes out, forcing Maria to spend the night in the hotel across the street. But she won’t be spending the night alone — not when there’s a blithe spirit in the air,...
Honoré says he was desperate to film Chiara Mastroianni’s “anxious forehead and ironic dimples,” so he cast the French actress as Maria, a historian in her late 40s who’s having a clandestine (but rather unapologetic) affair with a twentysomething student whose name sounds like an anagram for sexual misadventure: Asdrubal Electorat. Maria finds that kinda funny; her devout and tender husband Richard (Benjamin Biolay) does not. He boots her from their Paris apartment shortly after the truth comes out, forcing Maria to spend the night in the hotel across the street. But she won’t be spending the night alone — not when there’s a blithe spirit in the air,...
- 5/6/2020
- by David Ehrlich
- Indiewire
If the last month has proven anything when it comes to the world of film, we can only expect the unexpected when it comes to shifting release dates, roll-outs, and platforms. This means it is a bit futile to publish our yearly summer preview when the release calendar seems to change day-by-day, however, we’ll still be delivering our monthly previews.
The month of May doesn’t look like the usual one as there are no summer blockbusters on the slate, but there are plenty of notable options to watch, from controversial festival favorites to powerful documentaries. As a special mention, before its official release later this year via Music Box Films, Mubi will be holding a one-day-only, free special preview of Pablo Larraín’s Ema this Friday, May 1, and one can see our review here.
See our picks to watch this May below.
10. Natalie Wood: What Remains Behind (Laurent Bouzereau...
The month of May doesn’t look like the usual one as there are no summer blockbusters on the slate, but there are plenty of notable options to watch, from controversial festival favorites to powerful documentaries. As a special mention, before its official release later this year via Music Box Films, Mubi will be holding a one-day-only, free special preview of Pablo Larraín’s Ema this Friday, May 1, and one can see our review here.
See our picks to watch this May below.
10. Natalie Wood: What Remains Behind (Laurent Bouzereau...
- 4/30/2020
- by Jordan Raup
- The Film Stage
The managing director of the French group will begin her solo career in international production in a few months. After 13 years at mk2 Films, first as head of international sales, then as managing director since 2015, Juliette Schrameck today leaves the French group presided by Nathanaël Karmitz, and has announced her plan of launching a solo career in international production in a few months, with projects similar to the ones she developed and accompanied during her years at mk2. For the record, mk2 Films was selling five films from the Cannes 2018 competition, including two co-productions — Pawel Pawlikowski’s Cold War and Jia Zhang-ke’s Ash Is Purest White — as well as Ryusuke Hamaguchi’s Asako I & II, Stéphane Brizé’s At War, and Christophe Honoré’s Sorry Angel. On this occasion, Cineuropa had met up with Juliette Schrameck (read the interview). Last year, four feature films on the mk2 Films.
The acting duo is currently performing in Peter Dourountzis’ feature debut, which is being produced by 10:15 Productions and will be sold by Kinology. The shoot for Vaurien, the feature debut by Peter Dourountzis, kicked off on 27 October and is due to wrap on 28 November. Toplining this thriller are Pierre Deladonchamps and Ophélie Bau (nominated for the César Award for Most Promising Actress in 2019 and winner of the Lumières Award...
- 11/13/2019
- Cineuropa - The Best of European Cinema
Netflix has confirmed that 44 new original series, movies and specials will be debuting on the streaming service in Ju;y including: season 3 of “Stranger Things”; season 4 of “Queer Eye”; season 7 of “Orange is the New Black”; and season 11 of “Comedians in Cars Getting Coffee.”
Among the new films on offer are: several installments of “Bangkok Love Stories”; a remake of “Point Blank” starring Anthony Mackie; the documentary “The Great Hack”‘; and the mockumentary “Frankenstein’s Monster’s Monster, Frankenstein.”
Below is the full schedule of everything that is coming and leaving Netflix in July 2019.
Sign Up for Gold Derby’s free newsletter with latest predictions
Available July 1
“Designated Survivor: 60 Days” (Netflix Original)
“Katherine Ryan: Glitter Room” (Netflix Original)
“Alice Doesn’t Live Here Anymore”
“Astro Boy”
“Caddyshack”
“Caddyshack 2”
“Charlie and the Chocolate Factory” (2005)
“Cheech & Chong’s Up in Smoke”
“Cloverfield”
“Disney’s Race to Witch Mountain”
“Frozen River”
“Inkheart...
Among the new films on offer are: several installments of “Bangkok Love Stories”; a remake of “Point Blank” starring Anthony Mackie; the documentary “The Great Hack”‘; and the mockumentary “Frankenstein’s Monster’s Monster, Frankenstein.”
Below is the full schedule of everything that is coming and leaving Netflix in July 2019.
Sign Up for Gold Derby’s free newsletter with latest predictions
Available July 1
“Designated Survivor: 60 Days” (Netflix Original)
“Katherine Ryan: Glitter Room” (Netflix Original)
“Alice Doesn’t Live Here Anymore”
“Astro Boy”
“Caddyshack”
“Caddyshack 2”
“Charlie and the Chocolate Factory” (2005)
“Cheech & Chong’s Up in Smoke”
“Cloverfield”
“Disney’s Race to Witch Mountain”
“Frozen River”
“Inkheart...
- 6/30/2019
- by Paul Sheehan
- Gold Derby
Netflix has everyone’s Fourth of July entertainment covered.
Hitting the streaming platform on July 4 is “Stranger Things” season three, which is finally returning two years after its predecessor. Martin Scorsese fans are also sure to be excited once they see four of the director’s films (“Taxi Driver” “Mean Streets” “Alice Doesn’t Live Here Anymore” and “Who’s That Knocking at My Door?”) ready to stream on the first day of the month.
Additionally, Fourth of July celebrants can look back on history with Netflix’s own revisionist features such as “Inglourious Basterds” before enjoying some family fun with more kid friendly options like “Megamind” and “Princess and the Frog.”
See the full list of titles below.
July 1
“Designated Survivor: 60 days”
“Katherine Ryan: Glitter Room”
“Alice Doesn’t Live Here Anymore”
“Astro Boy”
“Caddyshack”
“Caddyshack 2”
“Charlie and the Chocolate Factory” (2005)
“Cheech & Chong’s Up in Smoke”
“Cloverfield...
Hitting the streaming platform on July 4 is “Stranger Things” season three, which is finally returning two years after its predecessor. Martin Scorsese fans are also sure to be excited once they see four of the director’s films (“Taxi Driver” “Mean Streets” “Alice Doesn’t Live Here Anymore” and “Who’s That Knocking at My Door?”) ready to stream on the first day of the month.
Additionally, Fourth of July celebrants can look back on history with Netflix’s own revisionist features such as “Inglourious Basterds” before enjoying some family fun with more kid friendly options like “Megamind” and “Princess and the Frog.”
See the full list of titles below.
July 1
“Designated Survivor: 60 days”
“Katherine Ryan: Glitter Room”
“Alice Doesn’t Live Here Anymore”
“Astro Boy”
“Caddyshack”
“Caddyshack 2”
“Charlie and the Chocolate Factory” (2005)
“Cheech & Chong’s Up in Smoke”
“Cloverfield...
- 6/28/2019
- by Dano Nissen
- Variety Film + TV
Madrid — Berlin-based Films Boutique has acquired international sales rights to Maryam Touzani’s Cannes Un Certain Regard women’s drama “Adam,” the feature debut of the Moroccan screenwriter-director who co-wrote Nabil Ayouch’s 2017 hit “Razzia,” in which she also starred.
In early distribution deals on “Adam,” Ad Vitam has acquired French distribution rights and Cinéart those to Benelux.
A women’s tale of friendship, rebirth and oppression, “Adam,” which world premieres at the Cannes Festival. It turns on the chance but life changing and enhancing encounter in Casablanca’s Medina between Samia, a heavily pregnant, single young woman down from the countryside to have her soon-to-be-born child adopted, and Abla, a widow with a vivacious eight-year-old daughter who has set up a bakery in her home to make ends meet.
Abla takes Samia in; Samia introduces Abla to some secrets of traditional Moroccan pastries, taught to her by her grandmother,...
In early distribution deals on “Adam,” Ad Vitam has acquired French distribution rights and Cinéart those to Benelux.
A women’s tale of friendship, rebirth and oppression, “Adam,” which world premieres at the Cannes Festival. It turns on the chance but life changing and enhancing encounter in Casablanca’s Medina between Samia, a heavily pregnant, single young woman down from the countryside to have her soon-to-be-born child adopted, and Abla, a widow with a vivacious eight-year-old daughter who has set up a bakery in her home to make ends meet.
Abla takes Samia in; Samia introduces Abla to some secrets of traditional Moroccan pastries, taught to her by her grandmother,...
- 5/8/2019
- by John Hopewell
- Variety Film + TV
Come get your Q on! The 12th Annual QFest St. Louis, presented by Cinema St. Louis,runs April 28-May 2, 2019, at the Tivoli Theatre (6350 Delmar) .The St. Louis-based Lgbtq film festival, QFest will present an eclectic slate of 28 films. The participating filmmakers represent a wide variety of voices in contemporary queer world cinema. The mission of the film festival is to use the art of contemporary gay cinema to spotlight the lives of Lgbtq people and to celebrate queer culture. The full schedule can be found Here
The 12th Annual QFest St. Louis begins this Sunday, April 28th. Here’s Sunday’s schedule:
1:00pm April 28th: Transgeek – This is a Free screening
(though tickets are required from box office)
“TransGeek” brings together the stories of transgender people working in the tech industry and participating in geek and gamer cultures. The film documents people who, in pursuit of their passions, risked...
The 12th Annual QFest St. Louis begins this Sunday, April 28th. Here’s Sunday’s schedule:
1:00pm April 28th: Transgeek – This is a Free screening
(though tickets are required from box office)
“TransGeek” brings together the stories of transgender people working in the tech industry and participating in geek and gamer cultures. The film documents people who, in pursuit of their passions, risked...
- 4/23/2019
- by Tom Stockman
- WeAreMovieGeeks.com
The White Crow and Sorry Angel are also opening.
Jordan Peele’s horror film Us, the director’s follow-up to his phenomenally successful debut Get Out, rolls out widely in the UK this weekend via Universal.
Us is also being released in the Us today, where the film’s opening is being forecast to top $40m (£30.6m) by various reports. That would eclipse the Us opening of Get Out, which started with $33.4m (£25.5m) and closed on a hugely impressive $176m (£134.3m).
In the UK, Get Out opened with £2.2m and closed on £10.4m. Based on those figures, Us is...
Jordan Peele’s horror film Us, the director’s follow-up to his phenomenally successful debut Get Out, rolls out widely in the UK this weekend via Universal.
Us is also being released in the Us today, where the film’s opening is being forecast to top $40m (£30.6m) by various reports. That would eclipse the Us opening of Get Out, which started with $33.4m (£25.5m) and closed on a hugely impressive $176m (£134.3m).
In the UK, Get Out opened with £2.2m and closed on £10.4m. Based on those figures, Us is...
- 3/22/2019
- by Tom Grater
- ScreenDaily
Domestic violence drama earns four prizes in Paris.
Xavier Legrand’s domestic violence drama Custody (Jusqu’à La Garde) was named best film at the 44th Cesar Awards in Paris on Friday (23).
Legrand’s feature directorial debut and Venice 2017 Silver Lion winner began the night on a field-leading 10 nominations alongside Gilles Lellouche’s comedy Sink Or Swim (Le Grand Bain), and also won awards for Legrand’s original screenplay, best actress Lea Drucker, and editor Yorgos Lamprinos.
Jacques Audiard was named best director for The Sisters Brothers at the ceremony in the Salle Pleyel, presided over by Kristin Scott Thomas.
Xavier Legrand’s domestic violence drama Custody (Jusqu’à La Garde) was named best film at the 44th Cesar Awards in Paris on Friday (23).
Legrand’s feature directorial debut and Venice 2017 Silver Lion winner began the night on a field-leading 10 nominations alongside Gilles Lellouche’s comedy Sink Or Swim (Le Grand Bain), and also won awards for Legrand’s original screenplay, best actress Lea Drucker, and editor Yorgos Lamprinos.
Jacques Audiard was named best director for The Sisters Brothers at the ceremony in the Salle Pleyel, presided over by Kristin Scott Thomas.
- 2/23/2019
- by Melanie Goodfellow
- ScreenDaily
“I mostly read dead writers,” Arthur says. Jacques teases back, “You won’t need to wait long.” The many types of relationships, friendships, and the ways the two transform are explored in Christophe Honoré’s new film Sorry Angel. In this scene, the two lovers discourse as if they were student and teacher, weaving multiple aspects of their relationship: their age difference, common interests, and Jacques’ known status as H.I.V. positive into two lines of dialogue.
We spoke with filmmaker Honoré and one of his lead actors, Vincent Lacoste at the 56th New York Film Festival. Honoré discusses Sorry Angel’s aesthetic manifesto and the new wave of international homophobia that influenced him to tell this story now. Lacoste discusses his character Arthur’s relationship with Nadine (Adèle Wismes), his lover prior to Jacques (Pierre Deladonchamps) and the idea Honoré presents that Arthur, Jacques and Mathieu (Denis Podalydès...
We spoke with filmmaker Honoré and one of his lead actors, Vincent Lacoste at the 56th New York Film Festival. Honoré discusses Sorry Angel’s aesthetic manifesto and the new wave of international homophobia that influenced him to tell this story now. Lacoste discusses his character Arthur’s relationship with Nadine (Adèle Wismes), his lover prior to Jacques (Pierre Deladonchamps) and the idea Honoré presents that Arthur, Jacques and Mathieu (Denis Podalydès...
- 2/14/2019
- by The Film Stage
- The Film Stage
"We could make a good life together." Strand Releasing has unveiled an official Us trailer for the French drama Sorry Angel, which premiered at the Cannes Film Festival last year and played at numerous other fests in late 2018. The original French titled is Plaire, aimer et courir vite, which translates (literally) to Pleasure, Love and Run Fast. Set in the 1990s in Paris, this queer romp brings us into the lives of three French men who hook up and make love and talk about life and love in the midst of the AIDS crisis. Jacques is an older writer from Paris. Arthur is a young student in Rennes. They instantly fall in love. But they'll have to face rejection and sickness to stay that way. Starring Vincent Lacoste, Pierre Deladonchamps, Denis Podalydès. This premiered to mixed reviews in Cannes, and is a bit dry at times; I much prefer the...
- 1/15/2019
- by Alex Billington
- firstshowing.net
Christophe Honoré’s drama “Sorry Angel,” which world premiered in competition at Cannes Film Festival, won France’s prestigious Louis Delluc Prize.
Kicking off France’s award season, the Louis Delluc prize is chosen by French critics and has been described as the film equivalent to the coveted Goncourt prize for literature.
“Sorry Angel” stars French actors Pierre Deladonchamps as a jaded, HIV-positive 30-something novelist who comes across an enthusiastic aspiring writer, Arthur (Vincent Lacoste), in his early 20s. “Sorry Angel” marks the director’s comeback to Cannes’ competition 11 years after “Love Songs.”
In winning the Louis Delluc Prize, “Sorry Angel” beat out Jacques Audiard’s “The Sisters Brothers,” Emmanuel Mouret’s “Mademoiselle de Joncquières,” Gilles Lellouche’s “Le Grand Bain,” Claire Denis’ “High Life,” Pierre Salvadori’s “En liberté!”, Cedric Kahn’s “La Prière,” Jean-Paul Civeyrac’s “Mes provinciales,” and Emmanuel Finkiel’s “Memoir of War,” which represents France in the foreign-language Oscar race.
Kicking off France’s award season, the Louis Delluc prize is chosen by French critics and has been described as the film equivalent to the coveted Goncourt prize for literature.
“Sorry Angel” stars French actors Pierre Deladonchamps as a jaded, HIV-positive 30-something novelist who comes across an enthusiastic aspiring writer, Arthur (Vincent Lacoste), in his early 20s. “Sorry Angel” marks the director’s comeback to Cannes’ competition 11 years after “Love Songs.”
In winning the Louis Delluc Prize, “Sorry Angel” beat out Jacques Audiard’s “The Sisters Brothers,” Emmanuel Mouret’s “Mademoiselle de Joncquières,” Gilles Lellouche’s “Le Grand Bain,” Claire Denis’ “High Life,” Pierre Salvadori’s “En liberté!”, Cedric Kahn’s “La Prière,” Jean-Paul Civeyrac’s “Mes provinciales,” and Emmanuel Finkiel’s “Memoir of War,” which represents France in the foreign-language Oscar race.
- 12/12/2018
- by Elsa Keslassy
- Variety Film + TV
The following essay was produced as part of the 2018 Nyff Critics Academy, a workshop for aspiring film critics that took place during the 56th edition of the New York Film Festival.
“We could make a beautiful life together.” So pours this utterance, gently from one man’s mouth into another man’s ear in Christophe Honoré’s latest film, “Sorry Angel.” For the speaker, this implied future rests in the distance, bathed in a warm, vivid glow. But to the receiver, the words vibrate like a death rattle. “Sorry Angel” positions itself into a long, somber lineage of HIV/AIDS-crisis-related films set in the nineties, from Robin Campillo’s recent queer activist drama “Bpm (Beats per Minute)” to Gregg Araki’s 1992 blood-stained road movie, “The Living End,” but “Sorry Angel” takes care to show the audience the unsentimental side of a gruesome process of physical change.
When we first meet...
“We could make a beautiful life together.” So pours this utterance, gently from one man’s mouth into another man’s ear in Christophe Honoré’s latest film, “Sorry Angel.” For the speaker, this implied future rests in the distance, bathed in a warm, vivid glow. But to the receiver, the words vibrate like a death rattle. “Sorry Angel” positions itself into a long, somber lineage of HIV/AIDS-crisis-related films set in the nineties, from Robin Campillo’s recent queer activist drama “Bpm (Beats per Minute)” to Gregg Araki’s 1992 blood-stained road movie, “The Living End,” but “Sorry Angel” takes care to show the audience the unsentimental side of a gruesome process of physical change.
When we first meet...
- 10/27/2018
- by Spencer Williams
- Indiewire
Sink Or Swim Photo: Mika Cotellon The French Film Festival - which runs from November 7 to December 16 at cinemas across the country - has announced its line-up.
The festival, which has announced will screen films from across the Francophone world, will feature the latest films from established names - including Jean-Luc Godard's The Image Book, Jean Becker's The Red Collar and Christophe Honoré's Sorry Angel - as well as new directors. The up-and-comers in the Discovery Horizons section include Marie Monge’s thriller Treat Me Like Fire, Hubert Charuel’s Bloody Milk and Dany, which is the directorial debut of actor François Damiens.
Other films screening include Gilles Lelouche's crowdpleaser Sink Or Swim - based on the same real-life story as UK production Swimming With Men - and Stéphane Brizé's At War, starring Vincent Lindon.
Festival director Richard Mowe said: “Serendipity and, of course, careful planning has...
The festival, which has announced will screen films from across the Francophone world, will feature the latest films from established names - including Jean-Luc Godard's The Image Book, Jean Becker's The Red Collar and Christophe Honoré's Sorry Angel - as well as new directors. The up-and-comers in the Discovery Horizons section include Marie Monge’s thriller Treat Me Like Fire, Hubert Charuel’s Bloody Milk and Dany, which is the directorial debut of actor François Damiens.
Other films screening include Gilles Lelouche's crowdpleaser Sink Or Swim - based on the same real-life story as UK production Swimming With Men - and Stéphane Brizé's At War, starring Vincent Lindon.
Festival director Richard Mowe said: “Serendipity and, of course, careful planning has...
- 10/23/2018
- by Amber Wilkinson
- eyeforfilm.co.uk
Equal parts “Weekend” and “120 Bpm” – while still being a pure product of writer-director Christophe Honoré – “Sorry Angel” is a tender, tentative romance, simultaneously full of both life and death. Set in 1993 in France, AIDS casts a dark shadow over the relationship between two men who can’t stay away from each other, despite the distance that divides them and the diagnosis of the elder one.
Continue reading ‘Sorry Angel’: Christophe Honoré’s Latest Is A Tender, Tentative Romance [Nyff Review] at The Playlist.
Continue reading ‘Sorry Angel’: Christophe Honoré’s Latest Is A Tender, Tentative Romance [Nyff Review] at The Playlist.
- 10/6/2018
- by Kimber Myers
- The Playlist
A wave of quietly revolutionary films are taking a thoughtful and celebratory look at queer identity – and reaping the rewards at the box office
On the penultimate night of this year’s recent Cannes film festival, I went — as is the custom for rosé-seeking journalists hanging on through the last days — to the Queer Palme awards night, where an independent jury announces their pick for the best Lgbt-themed film of the fest. It’s traditionally more of a party than an awards ceremony, not least because the winner tends to be a foregone conclusion. That one overtly queer film that was in the official selection? Yep, probably that one.
Not so this year, as the cocktail rounds were lightly speckled with speculation after a festival unusually rich in Lgbt narratives. The Belgian director Lukas Dhont’s debut Girl, a sensitively wrought study of an aspiring transgender ballerina, prevailed over a...
On the penultimate night of this year’s recent Cannes film festival, I went — as is the custom for rosé-seeking journalists hanging on through the last days — to the Queer Palme awards night, where an independent jury announces their pick for the best Lgbt-themed film of the fest. It’s traditionally more of a party than an awards ceremony, not least because the winner tends to be a foregone conclusion. That one overtly queer film that was in the official selection? Yep, probably that one.
Not so this year, as the cocktail rounds were lightly speckled with speculation after a festival unusually rich in Lgbt narratives. The Belgian director Lukas Dhont’s debut Girl, a sensitively wrought study of an aspiring transgender ballerina, prevailed over a...
- 6/15/2018
- by Guy Lodge
- The Guardian - Film News
Strand Releasing has acquired U.S. rights to Christophe Honore’s “Sorry Angel” which world premiered in competition at Cannes Film Festival.
Sold by MK2, “Sorry Angel” takes place in Paris, in 1993, and follows Jacques, a renown writer and single father in his 30’s who is desperately trying to maintain a sense of normalcy against the backdrop of the AIDS crisis and unexpectedly falls in love with an enthusiastic aspiring writer in his early 20s.
The film is headlined by a strong French cast, including Pierre Deladonchamps (“Stranger by the Lake”), Vincent Lacoste (“Lolo”) and Denis Podalydes (“Mr & Mme Adelman”).
Speaking to Variety at Cannes, Honoré said he wanted, through the film, to “explore (his) memories of being in my 20s in the ’90s.” “AIDS was part of our lives (…) and the fear of death was looming over love and sex relationships,” said Honoré.
“We’re delighted that this very...
Sold by MK2, “Sorry Angel” takes place in Paris, in 1993, and follows Jacques, a renown writer and single father in his 30’s who is desperately trying to maintain a sense of normalcy against the backdrop of the AIDS crisis and unexpectedly falls in love with an enthusiastic aspiring writer in his early 20s.
The film is headlined by a strong French cast, including Pierre Deladonchamps (“Stranger by the Lake”), Vincent Lacoste (“Lolo”) and Denis Podalydes (“Mr & Mme Adelman”).
Speaking to Variety at Cannes, Honoré said he wanted, through the film, to “explore (his) memories of being in my 20s in the ’90s.” “AIDS was part of our lives (…) and the fear of death was looming over love and sex relationships,” said Honoré.
“We’re delighted that this very...
- 6/14/2018
- by Elsa Keslassy
- Variety Film + TV
In a move which will be noted by art film distributors around the world, France’s Ad Vitam, a major force in Cannes Festival pre-buys and purchases, has acquired French rights to “The Dead and the Others,” this year’s Cannes Un Certain Regard special jury prize winner.
“The Dead and the Others” is sold by Paris-based Luxbox. Directed by Palme d’Or short film winner João Salaviza and Renée Nader Messora, it turns on 15-year-old Ihjãc, who is instructed by his dead father’s voice to celebrate the funerary feast allowing his father’s spirit to depart to the village of the dead and Ihjãc to get on with life. Reluctant to say goodbye to his father, also a first step to becoming a shaman, Ihjãc falls ill, and flees to the nearest town, to be cured by white people, They tell him, however, that he can only stay...
“The Dead and the Others” is sold by Paris-based Luxbox. Directed by Palme d’Or short film winner João Salaviza and Renée Nader Messora, it turns on 15-year-old Ihjãc, who is instructed by his dead father’s voice to celebrate the funerary feast allowing his father’s spirit to depart to the village of the dead and Ihjãc to get on with life. Reluctant to say goodbye to his father, also a first step to becoming a shaman, Ihjãc falls ill, and flees to the nearest town, to be cured by white people, They tell him, however, that he can only stay...
- 6/1/2018
- by John Hopewell
- Variety Film + TV
Thunderbird Releasing picks up Cannes main prize winner.
Hirokazu Kore-eda’s family drama Shoplifters, winner of Cannes Film Festival’s prestigious Palme d’Or this year, has landed a UK distribution deal with Thunderbird Releasing.
Kore-eda’s seventh film to screen at Cannes beat Spike Lee’s BlacKkKlansman, Pawel Pawlikowski’s Cold War and Lee Chang-dong’s Burning to take the top honour from Cannes’ main competition this year.
Starring Sakura Ando and Mayu Matsuoka, the film tells the story of a shoplifting father-and-son duo and the little girl they take in from the street. Producers on the project are Kaoru Matsusaki,...
Hirokazu Kore-eda’s family drama Shoplifters, winner of Cannes Film Festival’s prestigious Palme d’Or this year, has landed a UK distribution deal with Thunderbird Releasing.
Kore-eda’s seventh film to screen at Cannes beat Spike Lee’s BlacKkKlansman, Pawel Pawlikowski’s Cold War and Lee Chang-dong’s Burning to take the top honour from Cannes’ main competition this year.
Starring Sakura Ando and Mayu Matsuoka, the film tells the story of a shoplifting father-and-son duo and the little girl they take in from the street. Producers on the project are Kaoru Matsusaki,...
- 5/23/2018
- by Tom Grater
- ScreenDaily
Hirozazu Kore-eda’s “Shoplifters” has won the Palme d’Or as the best film at the 2018 Cannes Film Festival.
The film was the seventh by the Japanese director to screen in Cannes, and the first to win the festival’s top prize. The story of a close-knit family who live on the edge of homelessness and resort to petty crime to stay alive, the film won near-unanimous raves since it debuted midway through the festival.
In his review at TheWrap, Ben Croll called the film “his richest film to date” and added, “Not only does ‘Shoplifters’ skillfully entwine several disparate threads he’s explored over his prolific career, it does so with the understated confidence and patient elegance of an artist who has fully matured.”
Magnolia Pictures acquired U.S. distribution during the festival.
Also Read: 'Shoplifters' Cannes Review: Is the Seventh Time a Charm for Hirokazu Kore-eda?
Spike Lee took the runner-up award,...
The film was the seventh by the Japanese director to screen in Cannes, and the first to win the festival’s top prize. The story of a close-knit family who live on the edge of homelessness and resort to petty crime to stay alive, the film won near-unanimous raves since it debuted midway through the festival.
In his review at TheWrap, Ben Croll called the film “his richest film to date” and added, “Not only does ‘Shoplifters’ skillfully entwine several disparate threads he’s explored over his prolific career, it does so with the understated confidence and patient elegance of an artist who has fully matured.”
Magnolia Pictures acquired U.S. distribution during the festival.
Also Read: 'Shoplifters' Cannes Review: Is the Seventh Time a Charm for Hirokazu Kore-eda?
Spike Lee took the runner-up award,...
- 5/19/2018
- by Steve Pond
- The Wrap
Lee Chang-dong’s “Burning” has been named the best film of the 2018 Cannes Film Festival by two critics’ groups, the International Federation of Film Critics (Fipresci) and the International Cinephile Society.
The Korean director’s leisurely paced love-triangle drama has topped all critics’ polls at the festival. “Always shifting gears the moment you think you’ve figured it out, Lee Chang-dong’s slow burn tale of alienation and obsession is something like an art-house equivalent of fine wine,” wrote Ben Croll in TheWrap.
The awards came as sharp-eyed Cannes-watchers on Twitter, noting which filmmakers had returned to the town for Saturday’s awards ceremony, buzzed about rumors that “Burning” might be completely overlooked by the Cannes jury headed by Cate Blanchett.
Also Read: 'Burning' Film Review: Korean Auteur Lee Chang-dong Returns With Breathtaking Drama
The Fipresci awards, which were chosen by a nine-person jury of critics from seven different countries,...
The Korean director’s leisurely paced love-triangle drama has topped all critics’ polls at the festival. “Always shifting gears the moment you think you’ve figured it out, Lee Chang-dong’s slow burn tale of alienation and obsession is something like an art-house equivalent of fine wine,” wrote Ben Croll in TheWrap.
The awards came as sharp-eyed Cannes-watchers on Twitter, noting which filmmakers had returned to the town for Saturday’s awards ceremony, buzzed about rumors that “Burning” might be completely overlooked by the Cannes jury headed by Cate Blanchett.
Also Read: 'Burning' Film Review: Korean Auteur Lee Chang-dong Returns With Breathtaking Drama
The Fipresci awards, which were chosen by a nine-person jury of critics from seven different countries,...
- 5/19/2018
- by Steve Pond
- The Wrap
As the final credits roll at this year’s film festival, a contentious lineup has left audiences with more questions than answers
At the closing stages of this year’s Cannes film festival the guests gather to watch Under the Silver Lake, a shaggy-dog tale that sends Andrew Garfield reeling across an La suburb in thrall to cults and comic books and movie-star memorabilia. He has some urgent questions relating to a missing girl, the subliminal messages on his records, and some parrot-related mystery the exact details of which I’ve already forgotten. “But what does it all mean?” he wails at one point, and the line sends ripples of laughter through the cinema.
Ostensibly the audience is laughing at Under the Silver Lake (David Robert Mitchell’s follow-up to his excellent It Follows), which finally doesn’t amount to a hill of beans. But they’re also giggling at themselves and at the great,...
At the closing stages of this year’s Cannes film festival the guests gather to watch Under the Silver Lake, a shaggy-dog tale that sends Andrew Garfield reeling across an La suburb in thrall to cults and comic books and movie-star memorabilia. He has some urgent questions relating to a missing girl, the subliminal messages on his records, and some parrot-related mystery the exact details of which I’ve already forgotten. “But what does it all mean?” he wails at one point, and the line sends ripples of laughter through the cinema.
Ostensibly the audience is laughing at Under the Silver Lake (David Robert Mitchell’s follow-up to his excellent It Follows), which finally doesn’t amount to a hill of beans. But they’re also giggling at themselves and at the great,...
- 5/19/2018
- by Xan Brooks
- The Guardian - Film News
The film premiered in Competition at Cannes.
Thunderbird Releasing has acquired Christophe Honoré’s romantic drama Sorry Angel for the UK, following its premiere in Competition at the Cannes Film Festival.
The film, set in 1993, stars Pierre Deladonchamps and Vincent Lacoste, and follows the burgeoning relationship between Jacques, a 39 year old writer living in Paris, and Arthur, a student from Brittany.
The deal was negotiated by Edward Fletcher, Managing Director of Thunderbird Releasing, and Fionnuala Jamison, Head of International Sales at MK2.
The acquisition adds to a busy slate for the UK indie distributor, who also recently acquired Claire Denis...
Thunderbird Releasing has acquired Christophe Honoré’s romantic drama Sorry Angel for the UK, following its premiere in Competition at the Cannes Film Festival.
The film, set in 1993, stars Pierre Deladonchamps and Vincent Lacoste, and follows the burgeoning relationship between Jacques, a 39 year old writer living in Paris, and Arthur, a student from Brittany.
The deal was negotiated by Edward Fletcher, Managing Director of Thunderbird Releasing, and Fionnuala Jamison, Head of International Sales at MK2.
The acquisition adds to a busy slate for the UK indie distributor, who also recently acquired Claire Denis...
- 5/16/2018
- by Ben Dalton
- ScreenDaily
Le Pacte has closed a flurry of deals to major markets on a pair of buzzed-about French comedies, Patrick Cassir’s “Our Happy Holiday” and Thomas Lilti’s “The Freshmen” at Cannes’s film market.
“The Freshmen” reteams Lilti with French actor Vincent Lacoste who toplined “Hippocrate,” Lilti’s feature debut which world premiered at Cannes’s Critics Week and turned out to be a critical and commercial success in France and abroad.
Le Pacte hosted four market screenings for the film at Cannes and has now sold it to Italy (Movies inspired), Canada (Eye Steel Film), Switzerland (Filmcoopi), Austria (Thimfilm) and Benelux (Athena), Colombia, Peru and Ecuador (Cineplex), Central America (Cinepolis).
Camille Neel, Le Pacte’s head of international sales, said Lilti’s last film, “Irreplaceable” sold 1.6 million admissions in France and 1.2 million abroad. “Lilti has become popular among foreign buyers thanks to his great track record — both ‘Hippocrate” and ‘Irreplaceable’ have been successful,...
“The Freshmen” reteams Lilti with French actor Vincent Lacoste who toplined “Hippocrate,” Lilti’s feature debut which world premiered at Cannes’s Critics Week and turned out to be a critical and commercial success in France and abroad.
Le Pacte hosted four market screenings for the film at Cannes and has now sold it to Italy (Movies inspired), Canada (Eye Steel Film), Switzerland (Filmcoopi), Austria (Thimfilm) and Benelux (Athena), Colombia, Peru and Ecuador (Cineplex), Central America (Cinepolis).
Camille Neel, Le Pacte’s head of international sales, said Lilti’s last film, “Irreplaceable” sold 1.6 million admissions in France and 1.2 million abroad. “Lilti has become popular among foreign buyers thanks to his great track record — both ‘Hippocrate” and ‘Irreplaceable’ have been successful,...
- 5/15/2018
- by Elsa Keslassy
- Variety Film + TV
Lupita Nyong'o is turning heads at the Cannes Film Festival. On Friday, she twirled for her life in a stunning pink gown at a Chopard event, giving us another glimpse of her glamorous signature pose. The day before, the Black Panther star arrived in style by boat with her 355 costars Marion Cotillard, Jessica Chastain, Penélope Cruz, and Fan Bingbing for a photocall promoting their upcoming all-female spy thriller. Lupita looked like an Old Hollywood bombshell in a fitted black halter dress and cat-eye shades. Later that evening, she turned it out on the red carpet for the premiere of Sorry Angel; Lupita was a total vision in white Dior Haute Couture and even struck a Wakanda salute pose for photographers.
Related: 34 Times Lupita Nyong'o Was Just Everything You've Ever Wanted to Be in Life
Lupita may not have been in attendance at the Met Gala in NYC on Monday, but...
Related: 34 Times Lupita Nyong'o Was Just Everything You've Ever Wanted to Be in Life
Lupita may not have been in attendance at the Met Gala in NYC on Monday, but...
- 5/13/2018
- by Britt Stephens
- Popsugar.com
If you’re looking to sum up the 2018 Cannes Film Festival so far, you might want to turn to an instructive scene near the end of Eva Husson’s competition entry “Girls of the Sun.” In the scene, Mathilde, a war correspondent played by Emmanuelle Bercot, is speaking to Bahar, a female squad leader played by Golshifteh Farahani.
“Be warned,” Mathilde says of the story she’s going home to write about Bahar’s exploits on the battlefield. “You’re going to be a heroine.”
“We’re all heroines,” says Bahar.
Also Read: Cate Blanchett Calls for 'Parity and Transparency' in Red Carpet Protest of Gender Inequity in Cannes
Is this the “we’re all heroines” edition of the Cannes Film Festival? Well, consider this:
Husson’s film, one of three movies in the competition directed by women, got what was by most reports the festival’s loudest and longest standing ovation at the end of its gala premiere on Saturday evening. That same premiere began with 82 women, ranging from 87-year-old legend Agnes Varda to jury president Cate Blanchett, walking halfway up the steps into the Grand Theatre Lumiere and then stopping, as a protest against the festival’s historic scarcity of women in competition. For only the second time in history, the main competition jury is made up of more women than men. The biggest bidding war and the biggest deal in the Cannes marketplace so far has been for “355,” a globetrotting female-spy thriller masterminded by Jessica Chastain and starring Chastain, Marion Cotillard, Lupita Nyong’o, Penelope Cruz and Fan Bingbing. The biggest news so far has been generated by Saturday’s red-carpet statement read by Blanchett and Agnes Varda, and by an event scheduled to take place on the beach on Monday, at which the French gender equality group 50/50 by 2020 is expected to ask for a gender-parity pledge from Cannes General Delegate Thierry Fremaux and the directors of the Directors’ Fortnight and Critics’ Week sidebars.
The lack of women is often news at Cannes, but this year their absence and their presence is the biggest story of the first six days of the festival. The currents that hit Hollywood in the wake of the Harvey Weinstein revelations and led to Frances McDormand’s impassioned Oscar-night speech have definitely washed up onto the Croisette, and this year’s Cannes, the first in memory without Weinstein’s oversized presence, is at least slightly more inclusive than usual.
Also Read: Cannes' Female Troubles: Women Directors Have Always Been Scarce
We won’t know for at least a year how effective this year’s campaign has been; Fremaux has repeatedly said that he’s in favor of affirmative-action-style provisions to increase the number of women behind the scenes at Cannes, but he’s steadfastly insisted that gender should never be a factor in programming decisions.
And we won’t know if this is the year that only the second woman ever takes home the festival’s top prize, the Palme d’Or. On the heels of Saturday’s “Girls of the Sun” screenings, some observers went so far as to brand Husson the odds-on favorite to follow Jane Campion (“The Piano”) as the only women to win — but that’s certainly a premature statement with 12 of the 21 main-competition films yet to screen as of midday Sunday.
Still to come: Two more films from female directors, Alice Rohrwacher’s “Lazzaro Felice” and Nadine Labaki’s “Capharnaum,” plus new work from esteemed auteurs Hizokazu Kore-eda (“Shoplifters”), Lee Chang-dong (“Burning”), Matteo Garrone (“Dogman”) and the only past Palme winner in the group, Nuri Bilge Ceylan (“The Wild Pear Tree”).
Also Read: 'Girls of the Sun' Film Review: A Middle Eastern Feminist Hero Slays Isis
Also in the wings are the two American directors in competition: Spike Lee with “BlacKkKlansman” and David Robert Mitchell with “Under the Silver Lake.”
That’s a lot left to see – and in addition, it’s entirely possible that “Girls of the Sun,” for all its effectiveness as a piece of cinema, might be too slick and even manipulative for the Cannes jury, however much they might want to honor a female director.
(I’d say it probably has a better chance of winning the Oscar for Best Foreign Language Film than the Palme d’Or.)
So by the end of the festival, Cannes 2018 could belong to a different film – maybe a film from a different woman, more likely one from a male director.
Of the competition films that have screened since the festival opened on Tuesday with Asghar Farhadi’s “Everybody Knows,” the one to receive the most acclaim is probably “Ida” director Pawel Pawlikowski’s austere love story “Cold War,” though Kirill Serebrennikov’s Russian punk(ish) musical “Leto,” Jafar Panahi’s modestly subversive “Three Faces,” Christophe Honore’s AIDS saga “Sorry Angel” and Jean-Luc Godard’s assaultive “The Image Book” all have strong partisans.
So far, though, the biggest discoveries of Cannes ’18 have been in the margins, with films like Lukas Dhont’s affecting transgender teen drama “Girl,” while the biggest buzz has been around transgressive treats like Gaspar Noe’s predictably extreme “Climax” and Ali Abbasi’s troll-sex romp “Borders.”
Still, none of those have had anywhere near enough heat to steal the spotlight from those 82 women standing on the steps of Grand Theatre Lumiere on Saturday. For now, that’s the story of the 71st Cannes Film Festival: All the heroines.
Read original story Cannes So Far: The Spotlight Belongs to the Women At TheWrap...
“Be warned,” Mathilde says of the story she’s going home to write about Bahar’s exploits on the battlefield. “You’re going to be a heroine.”
“We’re all heroines,” says Bahar.
Also Read: Cate Blanchett Calls for 'Parity and Transparency' in Red Carpet Protest of Gender Inequity in Cannes
Is this the “we’re all heroines” edition of the Cannes Film Festival? Well, consider this:
Husson’s film, one of three movies in the competition directed by women, got what was by most reports the festival’s loudest and longest standing ovation at the end of its gala premiere on Saturday evening. That same premiere began with 82 women, ranging from 87-year-old legend Agnes Varda to jury president Cate Blanchett, walking halfway up the steps into the Grand Theatre Lumiere and then stopping, as a protest against the festival’s historic scarcity of women in competition. For only the second time in history, the main competition jury is made up of more women than men. The biggest bidding war and the biggest deal in the Cannes marketplace so far has been for “355,” a globetrotting female-spy thriller masterminded by Jessica Chastain and starring Chastain, Marion Cotillard, Lupita Nyong’o, Penelope Cruz and Fan Bingbing. The biggest news so far has been generated by Saturday’s red-carpet statement read by Blanchett and Agnes Varda, and by an event scheduled to take place on the beach on Monday, at which the French gender equality group 50/50 by 2020 is expected to ask for a gender-parity pledge from Cannes General Delegate Thierry Fremaux and the directors of the Directors’ Fortnight and Critics’ Week sidebars.
The lack of women is often news at Cannes, but this year their absence and their presence is the biggest story of the first six days of the festival. The currents that hit Hollywood in the wake of the Harvey Weinstein revelations and led to Frances McDormand’s impassioned Oscar-night speech have definitely washed up onto the Croisette, and this year’s Cannes, the first in memory without Weinstein’s oversized presence, is at least slightly more inclusive than usual.
Also Read: Cannes' Female Troubles: Women Directors Have Always Been Scarce
We won’t know for at least a year how effective this year’s campaign has been; Fremaux has repeatedly said that he’s in favor of affirmative-action-style provisions to increase the number of women behind the scenes at Cannes, but he’s steadfastly insisted that gender should never be a factor in programming decisions.
And we won’t know if this is the year that only the second woman ever takes home the festival’s top prize, the Palme d’Or. On the heels of Saturday’s “Girls of the Sun” screenings, some observers went so far as to brand Husson the odds-on favorite to follow Jane Campion (“The Piano”) as the only women to win — but that’s certainly a premature statement with 12 of the 21 main-competition films yet to screen as of midday Sunday.
Still to come: Two more films from female directors, Alice Rohrwacher’s “Lazzaro Felice” and Nadine Labaki’s “Capharnaum,” plus new work from esteemed auteurs Hizokazu Kore-eda (“Shoplifters”), Lee Chang-dong (“Burning”), Matteo Garrone (“Dogman”) and the only past Palme winner in the group, Nuri Bilge Ceylan (“The Wild Pear Tree”).
Also Read: 'Girls of the Sun' Film Review: A Middle Eastern Feminist Hero Slays Isis
Also in the wings are the two American directors in competition: Spike Lee with “BlacKkKlansman” and David Robert Mitchell with “Under the Silver Lake.”
That’s a lot left to see – and in addition, it’s entirely possible that “Girls of the Sun,” for all its effectiveness as a piece of cinema, might be too slick and even manipulative for the Cannes jury, however much they might want to honor a female director.
(I’d say it probably has a better chance of winning the Oscar for Best Foreign Language Film than the Palme d’Or.)
So by the end of the festival, Cannes 2018 could belong to a different film – maybe a film from a different woman, more likely one from a male director.
Of the competition films that have screened since the festival opened on Tuesday with Asghar Farhadi’s “Everybody Knows,” the one to receive the most acclaim is probably “Ida” director Pawel Pawlikowski’s austere love story “Cold War,” though Kirill Serebrennikov’s Russian punk(ish) musical “Leto,” Jafar Panahi’s modestly subversive “Three Faces,” Christophe Honore’s AIDS saga “Sorry Angel” and Jean-Luc Godard’s assaultive “The Image Book” all have strong partisans.
So far, though, the biggest discoveries of Cannes ’18 have been in the margins, with films like Lukas Dhont’s affecting transgender teen drama “Girl,” while the biggest buzz has been around transgressive treats like Gaspar Noe’s predictably extreme “Climax” and Ali Abbasi’s troll-sex romp “Borders.”
Still, none of those have had anywhere near enough heat to steal the spotlight from those 82 women standing on the steps of Grand Theatre Lumiere on Saturday. For now, that’s the story of the 71st Cannes Film Festival: All the heroines.
Read original story Cannes So Far: The Spotlight Belongs to the Women At TheWrap...
- 5/13/2018
- by Steve Pond
- The Wrap
One of French novelist-turned-director Christophe Honoré’s most personal films, “Sorry Angel” world premiered on Thursday in competition at Cannes. Sold by MK2, “Sorry Angel” stars French actors Pierre Deladonchamps as a 30-something jaded, HIV-positive novelist who comes across an enthusiastic aspiring writer, Arthur (Vincent Lacoste) in his early 20s. “Sorry Angel” marks the director’s comeback to Cannes’s competition 11 years after “Love Songs.” He’s working on “Les Idoles,” a new play paying tribute to several artists who died of AIDS. It will kick off in January at Paris’ Odéon theater.
“Sorry Angel” follows a romance between two men, one of which has AIDS, in the ’90s. Yet, your film is not a full-on AIDS drama like Robin Campillo’s “Bpm.” How would you describe it?
I wanted to explore my memories of being in my 20s in the ’90s. AIDS was part of our lives, so many people around me died,...
“Sorry Angel” follows a romance between two men, one of which has AIDS, in the ’90s. Yet, your film is not a full-on AIDS drama like Robin Campillo’s “Bpm.” How would you describe it?
I wanted to explore my memories of being in my 20s in the ’90s. AIDS was part of our lives, so many people around me died,...
- 5/12/2018
- by Elsa Keslassy
- Variety Film + TV
Pawel Pawlikowski’s 1950s love story Cold War has become the new leader on Screen’s Cannes 2018 jury grid, with five films declared so far.
The film, which depicts a romance between Wiktor and Zula that starts in post-war Poland then moves to Paris, achieved an average of 2.9, including three 4s from Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic. Julien Gester and Didier Péron of Libération were less impressed, awarding it 1 star.
Christophe Honoré’s Sorry Angel, his first Competition title since 2007, achieved mid-range scores,...
The film, which depicts a romance between Wiktor and Zula that starts in post-war Poland then moves to Paris, achieved an average of 2.9, including three 4s from Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic. Julien Gester and Didier Péron of Libération were less impressed, awarding it 1 star.
Christophe Honoré’s Sorry Angel, his first Competition title since 2007, achieved mid-range scores,...
- 5/12/2018
- by Ben Dalton
- ScreenDaily
UniFrance hosts talks 9:30 a.m. May 13 with New Faces of French Cinema at the UniFrance Terrace.
Leïla Bekhti
“Sink or Swim”
After debuting with supporting roles in such films as the gonzo-horror pic “Sheitan” and offering the sole female presence in macho juggernaut “A Prophet,” actress Bekhti became movie star Bekhti with the release of her 2010 comedy “All That Glitters.” Though that breakthrough role landed her a César and increased her box-office clout, the Parisian has not allowed herself to get too comfortable in any one gear.
“All my roles have to scare me,” she says. “Fear is reassuring; if one day I arrived on set and didn’t feel a bit afraid, that would be the end. Being afraid doesn’t stop me, it pushes me forward.”
So she has continually sought out first-time filmmakers, and is trying her hand at producing, developing a feature with theater director Julie Duclos.
Leïla Bekhti
“Sink or Swim”
After debuting with supporting roles in such films as the gonzo-horror pic “Sheitan” and offering the sole female presence in macho juggernaut “A Prophet,” actress Bekhti became movie star Bekhti with the release of her 2010 comedy “All That Glitters.” Though that breakthrough role landed her a César and increased her box-office clout, the Parisian has not allowed herself to get too comfortable in any one gear.
“All my roles have to scare me,” she says. “Fear is reassuring; if one day I arrived on set and didn’t feel a bit afraid, that would be the end. Being afraid doesn’t stop me, it pushes me forward.”
So she has continually sought out first-time filmmakers, and is trying her hand at producing, developing a feature with theater director Julie Duclos.
- 5/12/2018
- by Ben Croll
- Variety Film + TV
IndieWire reached out to the filmmakers with films premiering at the 2018 Cannes Film Festival to ask which cameras and lenses they used and, more importantly, why they were the right ones for their movies.
A few trends emerged. Once again, Arri’s digital cameras reign supreme as the choice of international auteurs and their cinematographers. Meanwhile, 13 cinematograhers shot on celluloid, including eight of the 21 competition films gunning for the Palme d’Or: “Ash is the Purest White,” “Shoplifters,” “BlacKkKlansman,” “Lazzaro Felice,” “Sorry Angel,” “Leto,” “Knife + Heart” and “Ayka.”
A handful of films relied on smaller, less expensive cameras that fit their budgets and circumstances, including two documentaries that used outdated Dvcam and Hdv formats when they began as one-person shoots many years ago. Iranian director Jafar Panahi, who is still banned from making films in his home country, used Canon 5d mark and Sony a7s, while Terry Gilliam...
A few trends emerged. Once again, Arri’s digital cameras reign supreme as the choice of international auteurs and their cinematographers. Meanwhile, 13 cinematograhers shot on celluloid, including eight of the 21 competition films gunning for the Palme d’Or: “Ash is the Purest White,” “Shoplifters,” “BlacKkKlansman,” “Lazzaro Felice,” “Sorry Angel,” “Leto,” “Knife + Heart” and “Ayka.”
A handful of films relied on smaller, less expensive cameras that fit their budgets and circumstances, including two documentaries that used outdated Dvcam and Hdv formats when they began as one-person shoots many years ago. Iranian director Jafar Panahi, who is still banned from making films in his home country, used Canon 5d mark and Sony a7s, while Terry Gilliam...
- 5/11/2018
- by Chris O'Falt
- Indiewire
Only his second time in the competition (he was there in 2007 with Les chansons d’amour), Christophe Honoré has moonlighted with the Cannes film festival — and he also played in the Directors’ Fortnight with Dans Paris (2006). His tenth feature film Sorry Angel which is an awkward translation from a much better Plaire, aimer et courir vite sees Stranger by the Lake‘s Pierre Deladonchamps match up with the younger Vincent Lacoste and the senior Denis Podalydès in this slice of life drama in set in the 90’s Paris.
An complementary film to last year’s comp offering Bpm, while a…...
An complementary film to last year’s comp offering Bpm, while a…...
- 5/11/2018
- by Eric Lavallée
- IONCINEMA.com
He’s only 24, but French actor Vincent Lacoste is already a veteran of Cannes. He first came to the Croisette at the age of 16 for the knockout comedy The French Kissers, and has returned multiple times for movies like Camille Rewinds, Hippocrates: Diary of a French Doctor and Victoria.
This year, he is back with Christophe Honore’s Sorry Angel, which is his first role in a competition film.
Between a slew of TV interviews — Angel is being released in France this week — he spoke with THR about the stress of Cannes and his recent transition from comedies to more dramatic roles....
This year, he is back with Christophe Honore’s Sorry Angel, which is his first role in a competition film.
Between a slew of TV interviews — Angel is being released in France this week — he spoke with THR about the stress of Cannes and his recent transition from comedies to more dramatic roles....
- 5/11/2018
- The Hollywood Reporter - Film + TV
He’s only 24, but French actor Vincent Lacoste is already a veteran of Cannes. He first came to the Croisette at the age of 16 for the knockout comedy The French Kissers, and has returned multiple times for movies like Camille Rewinds, Hippocrates: Diary of a French Doctor and Victoria.
This year, he is back with Christophe Honore’s Sorry Angel, which is his first role in a competition film.
Between a slew of TV interviews — Angel is being released in France this week — he spoke with THR about the stress of Cannes and his recent transition from comedies to more dramatic roles....
This year, he is back with Christophe Honore’s Sorry Angel, which is his first role in a competition film.
Between a slew of TV interviews — Angel is being released in France this week — he spoke with THR about the stress of Cannes and his recent transition from comedies to more dramatic roles....
- 5/11/2018
- The Hollywood Reporter - Movie News
Day 2 of the Cannes Film Festival was filled with screenings, most noteworthy being the showing of the Kenyan film “Rafiki,” but Terry Gilliam was the talk of the town when his film scored a huge legal victory on Wednesday.
A Paris court ruled that his long-in-the-works film “The Man Who Killed Don Quixote” could screen on the festival’s closing night despite a suit by a producer seeking to stop it. At the same time, however, the film lost its North American distributor, Amazon Studios, and Gilliam himself suffered a minor stroke over the weekend.
“Rafiki” made history on Wednesday when it became the first Kenyan film to screen at the festival. And Russia’s “Leto” also screened, but filmmaker Kirill Serebrennikov introduced it in absentia given that he is still under house arrest in his home country.
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
Thursday sees competition films “Sorry Angel” and “Cold War” screening.
See below for Wednesday’s roundup:
“The Man Who Killed Don Quixote” Wins
Terry Gilliam was victorious on Wednesday, when a French judge decided to throw out a producer’s bid to stop the film from screening at the Cannes Film Festival.
The film, which Gilliam has tried to make for decades with several failed attempts, can now screen during the festival’s closing night.
Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
However, Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Adam Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Jonathan Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Kenya’s “Rafiki” Debuts
The first-ever Kenyan film to be included in the festival, titled “Rafiki,” debuted at Cannes on Wednesday.
Many people were moved by its political storytelling. TheWrap’s Steve Pond wrote in his review, “Second-time director Wanuri Kahiu, one of a larger-than-usual contingent of female directors in the main selection, has crafted a modest, at times striking drama that is perhaps more notable for what it represents than what it is.”
The film was banned in its home country due to its Lgbt love story, with the Kenya Film Classification Board saying that homosexual scenes were illegal in Kenya.
Also Read: 'Rafiki' Film Review: African Gay Romance Is a First for Cannes
#Rafiki is – in terms of filmmaking – somewhat conventional. But in terms of representation politics & storytelling it‘s an important & well made glimpse into Kenya, it‘s people and society. And the 2 protagonists are strong leads. Takes a lot of Chuzpe to make this film. #cannes
— Beatrice Behn (@DansLeCinema) May 9, 2018
Rafiki falls apart narratively but great style, talented director and liked one of the leads quite a bit. Important gay film for Kenya. #Cannes2018
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Rafiki: definitely a first film, but it’s got a vital political utility and these leads have chemistry out the wazoo. It’s not Cannes unless there’s a movie with blacklighting!
— Charles Bramesco (@intothecrevasse) May 9, 2018
“Black Panther” Lights Up the Beach at Night
“Black Panther” was screened at night at the Cinema de la Plage — and what a beautiful setting to see one of the most talked-about films of the year.
A Cannes crowd has gathered for a nighttime screening of Black Panther on the beach pic.twitter.com/BAX6Q575Yn
— Kyle Buchanan (@kylebuchanan) May 9, 2018
Yo @MarvelStudios made it to #Cannes2018 Outdoor beach screening of Black Panther. Overflow on public beach behind it. pic.twitter.com/64nX7yQ8Cl
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Russia’s “Leto” Debuts
Kirill Serebrennikov’s film “Leto” screened at the festival while the director himself still remains under house arrest in Russia on charges of corruption.
The film received mixed early reviews. One viewer described the film as “cinematic brilliance,” while another called it “exceptional.”
TheWrap’s Steve Pond wrote in his review that “‘Leto’ is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, ‘Leto’ asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.”
Leto aka Summer (Serebrennikov '18) is an exceptional, and exceptionally morose, movie about internal conflict amidst social upheaval. An urgent cry for the present moment. No way this isn't winning something… #Cannes2018 #Cannes
— The Habitus (@habituspod) May 10, 2018
Cinematic brilliance @Festival_Cannes #Leto #KirillSerebrennikov #coupdecoeur https://t.co/JvOcDsDXdO
— Julia Effertz (@JuliaEffertz) May 10, 2018
Kirill Serebrennikov's Leto is not a Jared Leto biopic, but it's closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his. https://t.co/KOzce3PNE1
— Guy Lodge (@GuyLodge) May 10, 2018
Read original story Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory At TheWrap...
A Paris court ruled that his long-in-the-works film “The Man Who Killed Don Quixote” could screen on the festival’s closing night despite a suit by a producer seeking to stop it. At the same time, however, the film lost its North American distributor, Amazon Studios, and Gilliam himself suffered a minor stroke over the weekend.
“Rafiki” made history on Wednesday when it became the first Kenyan film to screen at the festival. And Russia’s “Leto” also screened, but filmmaker Kirill Serebrennikov introduced it in absentia given that he is still under house arrest in his home country.
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
Thursday sees competition films “Sorry Angel” and “Cold War” screening.
See below for Wednesday’s roundup:
“The Man Who Killed Don Quixote” Wins
Terry Gilliam was victorious on Wednesday, when a French judge decided to throw out a producer’s bid to stop the film from screening at the Cannes Film Festival.
The film, which Gilliam has tried to make for decades with several failed attempts, can now screen during the festival’s closing night.
Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
However, Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Adam Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Jonathan Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Kenya’s “Rafiki” Debuts
The first-ever Kenyan film to be included in the festival, titled “Rafiki,” debuted at Cannes on Wednesday.
Many people were moved by its political storytelling. TheWrap’s Steve Pond wrote in his review, “Second-time director Wanuri Kahiu, one of a larger-than-usual contingent of female directors in the main selection, has crafted a modest, at times striking drama that is perhaps more notable for what it represents than what it is.”
The film was banned in its home country due to its Lgbt love story, with the Kenya Film Classification Board saying that homosexual scenes were illegal in Kenya.
Also Read: 'Rafiki' Film Review: African Gay Romance Is a First for Cannes
#Rafiki is – in terms of filmmaking – somewhat conventional. But in terms of representation politics & storytelling it‘s an important & well made glimpse into Kenya, it‘s people and society. And the 2 protagonists are strong leads. Takes a lot of Chuzpe to make this film. #cannes
— Beatrice Behn (@DansLeCinema) May 9, 2018
Rafiki falls apart narratively but great style, talented director and liked one of the leads quite a bit. Important gay film for Kenya. #Cannes2018
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Rafiki: definitely a first film, but it’s got a vital political utility and these leads have chemistry out the wazoo. It’s not Cannes unless there’s a movie with blacklighting!
— Charles Bramesco (@intothecrevasse) May 9, 2018
“Black Panther” Lights Up the Beach at Night
“Black Panther” was screened at night at the Cinema de la Plage — and what a beautiful setting to see one of the most talked-about films of the year.
A Cannes crowd has gathered for a nighttime screening of Black Panther on the beach pic.twitter.com/BAX6Q575Yn
— Kyle Buchanan (@kylebuchanan) May 9, 2018
Yo @MarvelStudios made it to #Cannes2018 Outdoor beach screening of Black Panther. Overflow on public beach behind it. pic.twitter.com/64nX7yQ8Cl
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Russia’s “Leto” Debuts
Kirill Serebrennikov’s film “Leto” screened at the festival while the director himself still remains under house arrest in Russia on charges of corruption.
The film received mixed early reviews. One viewer described the film as “cinematic brilliance,” while another called it “exceptional.”
TheWrap’s Steve Pond wrote in his review that “‘Leto’ is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, ‘Leto’ asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.”
Leto aka Summer (Serebrennikov '18) is an exceptional, and exceptionally morose, movie about internal conflict amidst social upheaval. An urgent cry for the present moment. No way this isn't winning something… #Cannes2018 #Cannes
— The Habitus (@habituspod) May 10, 2018
Cinematic brilliance @Festival_Cannes #Leto #KirillSerebrennikov #coupdecoeur https://t.co/JvOcDsDXdO
— Julia Effertz (@JuliaEffertz) May 10, 2018
Kirill Serebrennikov's Leto is not a Jared Leto biopic, but it's closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his. https://t.co/KOzce3PNE1
— Guy Lodge (@GuyLodge) May 10, 2018
Read original story Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory At TheWrap...
- 5/10/2018
- by Beatrice Verhoeven
- The Wrap
In festival shorthand, every buzzy film finds a precedent from a previous edition. Blow away the press but get no love from the jury? You’re this year’s “Toni Erdmann.”
Die on the vine, inspiring jeers and sarcastic applause before the credits even come to a close? You’re this year’s “The Last Face” (sorry to break the bad news).
And so, should people in Cannes start referring to Christophe Honoré’s “Sorry Angel” as this year’s “Bpm (Beats Per Minute),” that might have more to do with passions it inspires and with the possible awards in its future than with the fact that both films happen to be AIDS stories set in Paris during the early 1990s. Although there is of course that factor.
If anything, Honoré’s deliberately paced, willfully unsentimental character study is like the yin to the yang of last year’s Cannes Grand Prize winner, “Bpm.” Whereas Robin Campillo’s Act-up drama argued that the personal was political, and did so with lightning-bolt urgency, Honoré’s film is a more subdued rumination on community and connection.
Also Read: 'BlacKkKlansman' Star Laura Harrier on Going From Spider-Man's Homecoming to Cannes Red Carpet
Campillo stood up to shout Silence = Death; Honoré wants to explore more quiet places.
He does so by the telling the story of two men. Jacques (Pierre Deladonchamps) is a thirtysomething novelist living in Paris. He’s HIV-positive, but his relative good health has held out enough for him to spend just as much time worrying about his poor finances and stalled career. All the way in Brittany, 22-year-old student Arthur (Vincent Lacoste) has yet to even begin a career — or, for that matter, come out of the closet.
These are two men, not two men in love. Though Arthur and Jacques do end up meeting, connecting and falling into bed, “Sorry Angel” is not a film about their — or any — coupling. Rather, Honoré uses the two, and Jacques’ fiftysomething neighbor Mathieu (Denis Podalydes), to explore the intergenerational community that these men create for each other.
Also Read: 'Everybody Knows' Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years
Set 25 years ago, close enough to the present to not feel too much like a period piece but just before the technological, medical and political advances that would forever alter Lgbtq life, the film navigates the fluidity of interpersonal relationships. A lover today may become a mentor tomorrow and perhaps a caregiver further down the line.
And so we have, with our two leads, opposite sides of the same coin. Sexually assertive and unashamed of his preference for men, Arthur is not quite “out” because for him there’s a full stop between sexuality and identity. And through his interactions with Jacques — out and fully socialized in Gay Paris but with a physical confidence diminished by illness — he may not find a partner, but he discovers a sense of self.
Read original story ‘Sorry Angel’ Film Review: AIDS Drama Explores the Quiet Places At TheWrap...
Die on the vine, inspiring jeers and sarcastic applause before the credits even come to a close? You’re this year’s “The Last Face” (sorry to break the bad news).
And so, should people in Cannes start referring to Christophe Honoré’s “Sorry Angel” as this year’s “Bpm (Beats Per Minute),” that might have more to do with passions it inspires and with the possible awards in its future than with the fact that both films happen to be AIDS stories set in Paris during the early 1990s. Although there is of course that factor.
If anything, Honoré’s deliberately paced, willfully unsentimental character study is like the yin to the yang of last year’s Cannes Grand Prize winner, “Bpm.” Whereas Robin Campillo’s Act-up drama argued that the personal was political, and did so with lightning-bolt urgency, Honoré’s film is a more subdued rumination on community and connection.
Also Read: 'BlacKkKlansman' Star Laura Harrier on Going From Spider-Man's Homecoming to Cannes Red Carpet
Campillo stood up to shout Silence = Death; Honoré wants to explore more quiet places.
He does so by the telling the story of two men. Jacques (Pierre Deladonchamps) is a thirtysomething novelist living in Paris. He’s HIV-positive, but his relative good health has held out enough for him to spend just as much time worrying about his poor finances and stalled career. All the way in Brittany, 22-year-old student Arthur (Vincent Lacoste) has yet to even begin a career — or, for that matter, come out of the closet.
These are two men, not two men in love. Though Arthur and Jacques do end up meeting, connecting and falling into bed, “Sorry Angel” is not a film about their — or any — coupling. Rather, Honoré uses the two, and Jacques’ fiftysomething neighbor Mathieu (Denis Podalydes), to explore the intergenerational community that these men create for each other.
Also Read: 'Everybody Knows' Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years
Set 25 years ago, close enough to the present to not feel too much like a period piece but just before the technological, medical and political advances that would forever alter Lgbtq life, the film navigates the fluidity of interpersonal relationships. A lover today may become a mentor tomorrow and perhaps a caregiver further down the line.
And so we have, with our two leads, opposite sides of the same coin. Sexually assertive and unashamed of his preference for men, Arthur is not quite “out” because for him there’s a full stop between sexuality and identity. And through his interactions with Jacques — out and fully socialized in Gay Paris but with a physical confidence diminished by illness — he may not find a partner, but he discovers a sense of self.
Read original story ‘Sorry Angel’ Film Review: AIDS Drama Explores the Quiet Places At TheWrap...
- 5/10/2018
- by Ben Croll
- The Wrap
As any cinephile can tell you, there are some directors we love despite the fact they have never made a great film, but rather for the uniqueness of their voice and the hope that one day they will deliver on their potential. In the case of Christophe Honoré, his delightful “Love Songs” landed him on that list, even if no one would argue that the effervescent 2007 ménage-à-trois musical was a masterpiece, while every subsequent film has slightly chipped away at our affection.
Now, with “Sorry Angel”, Honoré at last makes good on our faith in his talent, flashing back to 1993 to deliver a deeply personal queer romance that combines his best qualities as a filmmaker, even as it splits his identity between two men at opposite ends of life, HIV-positive writer Jacques (Pierre Deladonchamps) and college-age reader Arthur (Vincent Lacoste), each falling in love with the idea of the other.
Now, with “Sorry Angel”, Honoré at last makes good on our faith in his talent, flashing back to 1993 to deliver a deeply personal queer romance that combines his best qualities as a filmmaker, even as it splits his identity between two men at opposite ends of life, HIV-positive writer Jacques (Pierre Deladonchamps) and college-age reader Arthur (Vincent Lacoste), each falling in love with the idea of the other.
- 5/10/2018
- by Peter Debruge
- Variety Film + TV
The latest acquisitions were confirmed at the Cannes Marché du Film.
Benelux’s leading arthouse buyers have confirmed their latest acquisitions at the Cannes Marché du Film.
Cineart has added Life Itself (sold by FilmNation) and The Children’s Act, both sold by FilmNation, Asif Kapadia’s Maradona documentary (Altitude), Laszlo Nemes’ Sunset (Playtime) and Ari Folman’s animated Anne Frank feature, Where Is Anne Frank (Wild Bunch), to its distribution roster.
These titles complement the eight features in official selection that Cineart has already acquired. From the Competition line-up, the company has Everybody Knows, Christophe Honore’s Sorry Angel,...
Benelux’s leading arthouse buyers have confirmed their latest acquisitions at the Cannes Marché du Film.
Cineart has added Life Itself (sold by FilmNation) and The Children’s Act, both sold by FilmNation, Asif Kapadia’s Maradona documentary (Altitude), Laszlo Nemes’ Sunset (Playtime) and Ari Folman’s animated Anne Frank feature, Where Is Anne Frank (Wild Bunch), to its distribution roster.
These titles complement the eight features in official selection that Cineart has already acquired. From the Competition line-up, the company has Everybody Knows, Christophe Honore’s Sorry Angel,...
- 5/10/2018
- by Geoffrey Macnab
- ScreenDaily
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