No institution can dodge Louis C.K.’s comedic legacy and sexual allegations, TIFF included, where he appeared immediately pre-#MeToo with his film I Love You, Daddy. I squirmed slightly recalling C.K.’s appearance at the festival as I watched Cara Mones and Caroline Suh unpacking the case, his survivors, and his humor in Sorry/Not Sorry. The documentary follows entertainment journalists re-contextualizing the controversial comedian’s achievements in the present, along with testimonies from his assault survivors (and talented comedians in their own right) Jen Kirkman, Abby Schnacher, and Megan Koester.
The documentary’s talking-head and archival-footage aesthetic allows for a long runway to observe ethical conundrums in entertainment. Is it okay to be offensive under the guise of comedy? How much truth should be involved in a joke? And how much does that matter? If art is subjective, can the professional remain separate from the personal? While Sorry/Not Sorry proposes intriguing,...
The documentary’s talking-head and archival-footage aesthetic allows for a long runway to observe ethical conundrums in entertainment. Is it okay to be offensive under the guise of comedy? How much truth should be involved in a joke? And how much does that matter? If art is subjective, can the professional remain separate from the personal? While Sorry/Not Sorry proposes intriguing,...
- 9/20/2023
- by Edward Frumkin
- The Film Stage
Amid a Toronto Film Festival light on sales, Greenwich Entertainment has nabbed domestic distribution for a documentary on Louis C.K., TheWrap has learned.
The film, “Sorry/Not Sorry,” details the stand-up’s downfall after he was accused in a 2017 New York Times article of sexual misconduct by five women. It also deals with C.K.’s attempts at a post-scandal comeback — including a Grammy win in 2021 — along with backlash faced by the accusers. The sale came hours after the film’s TIFF world premiere.
Directed by Caroline Suh and Cara Mones, “Sorry/Not Sorry” is a New York Times production. Financial terms have not been disclosed, but Greenwich’s Andy Bohn negotiated the acquisition with CAA Media Finance on behalf of The New York Times.
“We couldn’t be happier to be partnering with Greenwich in the release of ‘Sorry/Not Sorry,'” Suh stated. “Their support means that the film – and the...
The film, “Sorry/Not Sorry,” details the stand-up’s downfall after he was accused in a 2017 New York Times article of sexual misconduct by five women. It also deals with C.K.’s attempts at a post-scandal comeback — including a Grammy win in 2021 — along with backlash faced by the accusers. The sale came hours after the film’s TIFF world premiere.
Directed by Caroline Suh and Cara Mones, “Sorry/Not Sorry” is a New York Times production. Financial terms have not been disclosed, but Greenwich’s Andy Bohn negotiated the acquisition with CAA Media Finance on behalf of The New York Times.
“We couldn’t be happier to be partnering with Greenwich in the release of ‘Sorry/Not Sorry,'” Suh stated. “Their support means that the film – and the...
- 9/11/2023
- by Scott Mendelson
- The Wrap
Greenwich Entertainment has picked up Sorry/Not Sorry, a new documentary that examines the sexual misconduct scandal that engulfed comedian Louis C.K. and its aftermath, hours after the film had its world premiere at the Toronto Film Festival.
Greenwich took North American rights to the film, co-directed by Caroline Suh and Cara Mones. Sorry/Not Sorry is based on the expose of Louis C.K. published by The New York Times, with the Times also producing together with Left/Right. Suh, Mones and Kathleen Lingo produced the film. New York Times journalists Melena Ryzik, Cara Buckley and Jodi Kantor, authors of the original 2017 article, served as consulting producers. Sam Dolnick, Jason Stallman, Ken Druckerman and Banks Tarver executive produced.
Sorry/Not Sorry drew a mixed response from critics in Toronto. The Hollywood Reporter found the documentary “struggled to find a new perspective” on the Louis C.K. scandal and the issue of whether he,...
Greenwich took North American rights to the film, co-directed by Caroline Suh and Cara Mones. Sorry/Not Sorry is based on the expose of Louis C.K. published by The New York Times, with the Times also producing together with Left/Right. Suh, Mones and Kathleen Lingo produced the film. New York Times journalists Melena Ryzik, Cara Buckley and Jodi Kantor, authors of the original 2017 article, served as consulting producers. Sam Dolnick, Jason Stallman, Ken Druckerman and Banks Tarver executive produced.
Sorry/Not Sorry drew a mixed response from critics in Toronto. The Hollywood Reporter found the documentary “struggled to find a new perspective” on the Louis C.K. scandal and the issue of whether he,...
- 9/11/2023
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Exclusive: In one of the first acquisition deals at Toronto, Greenwich Entertainment today announced it has picked up Sorry/Not Sorry, the documentary about the Louis C.K. sexual misconduct scandal and its aftermath, hours after the film’s TIFF world premiere.
The deal covers North American distribution rights to the film directed by Caroline Suh and Cara Mones. Sorry/Not Sorry is a production of The New York Times.
“In 2017, The New York Times published an article in which five women accused comedian Louis C.K. of sexual harassment,” notes a description of the film. “Nine months later, he returned to the stage and went on to win a Grammy in 2021. Sorry/Not Sorry examines the cultural fixation with Louis C.K. and his comeback while revealing the backlash faced by the women who spoke up about his behavior.”
Collider, in its review of the film, wrote, “While there have been plenty of...
The deal covers North American distribution rights to the film directed by Caroline Suh and Cara Mones. Sorry/Not Sorry is a production of The New York Times.
“In 2017, The New York Times published an article in which five women accused comedian Louis C.K. of sexual harassment,” notes a description of the film. “Nine months later, he returned to the stage and went on to win a Grammy in 2021. Sorry/Not Sorry examines the cultural fixation with Louis C.K. and his comeback while revealing the backlash faced by the women who spoke up about his behavior.”
Collider, in its review of the film, wrote, “While there have been plenty of...
- 9/11/2023
- by Matthew Carey
- Deadline Film + TV
At some point in our culture, we began to see male comedians as philosophers. Invoking the legacies of George Carlin, Richard Pryor and Bill Hicks, comedy fans have labeled funny men as paternalistic truth tellers that we all must revere. Never mind the fact that these men are no longer alive and thus have no opportunity to challenge the way their work has been framed and which living comics they are compared to.
Louis C.K. is one such comedian who has often been spoken of in the same breath as these men, despite lacking the often political edge of their work. C.K. and comics like Chris Rock and Dave Chappelle are the confirmed gold standard of comedy, standing at the top of the mountain looking down at the rest of us. There’s no denying their talent and insight, but they are very much still human, despite the prevailing...
Louis C.K. is one such comedian who has often been spoken of in the same breath as these men, despite lacking the often political edge of their work. C.K. and comics like Chris Rock and Dave Chappelle are the confirmed gold standard of comedy, standing at the top of the mountain looking down at the rest of us. There’s no denying their talent and insight, but they are very much still human, despite the prevailing...
- 9/11/2023
- by Jourdain Searles
- The Hollywood Reporter - Movie News
Exclusive: The blast radius from the end of Andrew Cuomo’s reign in the Empire State this week could see another chief executive forced to exit, or at least face a reckoning.
“Time’s Up’s at an inflection point,” stated another Hollywood A-lister who has worked closely with the group and its President and CEO Tina Tchen. “Continuing with Tina at the helm is looking untenable, whether a decision comes this week or down the road,” they added following a hard hitting New York Times piece on the group and its leadership.
The Times story was first published online on August 21, and appeared on the paper’s front page today.
Late last week, CEO Tchen called a 9 Am Pst Monday “briefing” for Time’s Up “founding signatories and entertainment leadership” to discuss “all of the recent news” around the increasingly enervated advocacy group.
In the shadow of the Nyt piece,...
“Time’s Up’s at an inflection point,” stated another Hollywood A-lister who has worked closely with the group and its President and CEO Tina Tchen. “Continuing with Tina at the helm is looking untenable, whether a decision comes this week or down the road,” they added following a hard hitting New York Times piece on the group and its leadership.
The Times story was first published online on August 21, and appeared on the paper’s front page today.
Late last week, CEO Tchen called a 9 Am Pst Monday “briefing” for Time’s Up “founding signatories and entertainment leadership” to discuss “all of the recent news” around the increasingly enervated advocacy group.
In the shadow of the Nyt piece,...
- 8/23/2021
- by Dominic Patten
- Deadline Film + TV
During an interview at Variety’s virtual studio at the Toronto International Film Festival, Kate Winslet — who stars in the festival’s lesbian romance “Ammonite” — elaborated on the regrets she recently expressed about working with directors Woody Allen and Roman Polanski. In an interview with Vanity Fair that published last week, Winslet talked about how the #MeToo movement has influenced her thinking and her choices, and said: “It’s like, what the fuck was I doing working with Woody Allen and Roman Polanski?”
On Monday, Winslet expanded on that sentiment.
“We learn, we grow, we change,” Winslet said. “I think we should all be allowed to say, ‘Look, I shouldn’t have done that,’ you know? And I think this is a huge, seismic time for all of us, where we’re aware of how many planes we take, for example, or things we have done in the past — or...
On Monday, Winslet expanded on that sentiment.
“We learn, we grow, we change,” Winslet said. “I think we should all be allowed to say, ‘Look, I shouldn’t have done that,’ you know? And I think this is a huge, seismic time for all of us, where we’re aware of how many planes we take, for example, or things we have done in the past — or...
- 9/14/2020
- by Kate Aurthur
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGThe official trailer for Peter Strickland's In Fabric, which stars Marianne Jean-Baptiste as a woman who purchases a haunted dress from a sinister boutique. The long awaited trailer to Hideo Kojima's new boundary-pushing video game Death Stranding, which by way of motion capture stars the likes of Norman Reedus, Léa Seydoux, Mads Mikkelsen, Nicolas Winding Refn, and Guillermo del Toro.Alien: The Play, a North Bergen High School production that features handmade costumes made of recycled materials, is now available online in its entirety. In the latest edition of the Museum of Modern Art's "How To See" series, curator Dave Kehr discusses how the nitrate prints and negatives of cinema's early days inspired audiences by expanding their perception of the world. Miranda July directs the music video for Sleater-Kinney's "Hurry On Home,...
- 5/29/2019
- MUBI
The New York Times announced Monday that New York Magazine and Vulture veteran Kyle Buchanan would join the paper as a pop culture reporter and take over the iconic “The Carpetbagger” awards season blog once held by David Carr.
“Excited to announce that I’ve been hired by the New York Times! I’m the new Carpetbagger,” said Buchanan in a tweet announcing the news. “My last day at @vulture is tomorrow. I will miss those terrific writers more than I can say.”
My last day at @vulture is tomorrow. I will miss those terrific writers more than I can say.
— Kyle Buchanan (@kylebuchanan) August 20, 2018
Also Read: How Colbert, Oliver, Kimmel and Company Became Leaders of Late-Night Resistance Against Trump
“The Times’s awards season coverage has long been a must read both in the industry and for casual movie fans. And with his work, Kyle has excelled over the...
“Excited to announce that I’ve been hired by the New York Times! I’m the new Carpetbagger,” said Buchanan in a tweet announcing the news. “My last day at @vulture is tomorrow. I will miss those terrific writers more than I can say.”
My last day at @vulture is tomorrow. I will miss those terrific writers more than I can say.
— Kyle Buchanan (@kylebuchanan) August 20, 2018
Also Read: How Colbert, Oliver, Kimmel and Company Became Leaders of Late-Night Resistance Against Trump
“The Times’s awards season coverage has long been a must read both in the industry and for casual movie fans. And with his work, Kyle has excelled over the...
- 8/20/2018
- by Jon Levine
- The Wrap
One of the legacies the late great journalist David Carr left to his beloved The New York Times was the awards column “The Carpetbagger.” Initially, it was the forward-looking media columnist’s way of exploring the use of video and blogging software as he covered the Oscar season as a neophyte. After a few years, he passed the torch to Times staffer Melena Ryzik, followed by Cara Buckley, who both returned to their regular beats outside the awards season.
This year, recent Carpetbagger Buckley recommended someone outside The Times to take over the gig, New York Magazine’s Vulture Senior Editor Kyle Buchanan, a charming show business insider who can more than hold his own on the competitive awards beat. The New York Times’ new pop culture reporter will get started August 29 with the onset of fall film festivals Telluride, Toronto and New York, when the lion’s share of...
This year, recent Carpetbagger Buckley recommended someone outside The Times to take over the gig, New York Magazine’s Vulture Senior Editor Kyle Buchanan, a charming show business insider who can more than hold his own on the competitive awards beat. The New York Times’ new pop culture reporter will get started August 29 with the onset of fall film festivals Telluride, Toronto and New York, when the lion’s share of...
- 8/20/2018
- by Anne Thompson
- Thompson on Hollywood
One of the legacies the late great journalist David Carr left to his beloved The New York Times was the awards column “The Carpetbagger.” Initially, it was the forward-looking media columnist’s way of exploring the use of video and blogging software as he covered the Oscar season as a neophyte. After a few years, he passed the torch to Times staffer Melena Ryzik, followed by Cara Buckley, who both returned to their regular beats outside the awards season.
This year, recent Carpetbagger Buckley recommended someone outside The Times to take over the gig, New York Magazine’s Vulture Senior Editor Kyle Buchanan, a charming show business insider who can more than hold his own on the competitive awards beat. The New York Times’ new pop culture reporter will get started August 29 with the onset of fall film festivals Telluride, Toronto and New York, when the lion’s share of...
This year, recent Carpetbagger Buckley recommended someone outside The Times to take over the gig, New York Magazine’s Vulture Senior Editor Kyle Buchanan, a charming show business insider who can more than hold his own on the competitive awards beat. The New York Times’ new pop culture reporter will get started August 29 with the onset of fall film festivals Telluride, Toronto and New York, when the lion’s share of...
- 8/20/2018
- by Anne Thompson
- Indiewire
Exclusive: Michele Ganeless, former President of Comedy Central, and Olivia Wingate, who previously served as a comedy talent rep, are doing their part to add a wrinkle to the ongoing push for diverse representation and inclusion in Hollywood. The comedy veterans have launched Mo Studios, a New York-based production company that will invest in the development, packaging, producing, and optioning of IPs with a focus on female and under-served voices.
The jointly run company, which is funded by a private equity investment, will partner with a diverse array of companies to explore all genres of storytelling intended for the international TV and Film markets as well as theater, publishing, new media, and audio in many forms.
“Authentic stories and strong points of view are what drives us, so we’re beyond thrilled to be able to invest in, nurture and support these voices wherever possible with amazing partners that share...
The jointly run company, which is funded by a private equity investment, will partner with a diverse array of companies to explore all genres of storytelling intended for the international TV and Film markets as well as theater, publishing, new media, and audio in many forms.
“Authentic stories and strong points of view are what drives us, so we’re beyond thrilled to be able to invest in, nurture and support these voices wherever possible with amazing partners that share...
- 6/27/2018
- by Amanda N'Duka
- Deadline Film + TV
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