"I saw a dead body. In the sea. There was a star on his belly." A boy makes a haunting discovery underwater in the trailer for Lucile Hadzihalilovic's Evolution, but it's what's happening on the ground that is the real nightmare. Viewers can learn the sinister secrets of a mysterious island for themselves on November 25th when IFC Midnight releases Evolution theatrically in New York and Los Angeles, as well as on VOD.
Press Release: IFC Midnight is proud to present Evolution, Lucile Hadzihalilovic's evocative, mysterious latest feature film. The film's world premiere took place at the Toronto International Film Festival, and marked the very welcome return of Hadzihalilovic's (Innocence) distinct voice on the international cinematic stage. The film went on to enthrall audiences at Fantastic Fest, BFI London Film Festival, the San Sebastian International Film Festival where it won the "Special Jury Prize" as well as "Best...
Press Release: IFC Midnight is proud to present Evolution, Lucile Hadzihalilovic's evocative, mysterious latest feature film. The film's world premiere took place at the Toronto International Film Festival, and marked the very welcome return of Hadzihalilovic's (Innocence) distinct voice on the international cinematic stage. The film went on to enthrall audiences at Fantastic Fest, BFI London Film Festival, the San Sebastian International Film Festival where it won the "Special Jury Prize" as well as "Best...
- 11/17/2016
- by Derek Anderson
- DailyDead
On Wednesday, October 28, Filmmaker Magazine will be presenting at the Ifp’s Made in New York Media Center a Master Class on filmmaking with the provocative Paris-based, Argentinian auteur Gaspar Noé. As his latest film, Love, a romantic melodrama with hardcore sex and shot in 3D, prepares to hit American screens, we’ll be screening Noé‘s first, rarely-screened picture, Carne, and then discussing his subsequent work. With its widescreen cinematography, William Castle-ish flourishes and spasms of ultra-violence, Carne, a tale of a racist horse-meat butcher in the South of France bent on avenging what he believes to be the rape of […]...
- 10/20/2015
- by Scott Macaulay
- Filmmaker Magazine - Blog
On Wednesday, October 28, Filmmaker Magazine will be presenting at the Ifp’s Made in New York Media Center a Master Class on filmmaking with the provocative Paris-based, Argentinian auteur Gaspar Noé. As his latest film, Love, a romantic melodrama with hardcore sex and shot in 3D, prepares to hit American screens, we’ll be screening Noé‘s first, rarely-screened picture, Carne, and then discussing his subsequent work. With its widescreen cinematography, William Castle-ish flourishes and spasms of ultra-violence, Carne, a tale of a racist horse-meat butcher in the South of France bent on avenging what he believes to be the rape of […]...
- 10/20/2015
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
It’s only his fourth feature film, but his eighth trip to Cannes, Gaspar Noé hasn’t let go of the short or long format. He first broke into the fest with the Directors’ Fortnight included Carne (1991), La Bouche de Jean-Pierre (short – 1996), Seul Contre Tous (short – 1998), Irreversible (2002), Sida (short – 2006), Enter the Void (2009), 7 Days in Havana (one of seven short films – 2012). If we only received a small sampling of critic grades for the 8:30 a.m. screening of Jacques Audiard’s Dheephan, it might have a lot to do with the conflict of interest and sleep deprivation associated to Noé’s Love 15 minutes past midnight screening. This year we made an exception in our Critics’ Panel, including this tantalizing 3D offering which our Nicholas Bell only reminds us that “Noé was already beaten to the punch by Michael Winterbottom with his film 9 Songs“. For many, this might be the filmmaker’s...
- 5/21/2015
- by Eric Lavallee
- IONCINEMA.com
Ricky is having a tough day, the bullet with his name on it is quite literally staring him in the face. Structured as a flashback of his life right at the second of final judgment, for (ostensibly) our entertainment, the writer of cult festival hit Sexykiller, Paco Cabezas, blows up his award winning short into a lengthy feature of the same name: Neon Flesh. In the world of Carne de Neón you are either climbing the rungs of the sex business (It's hard out there for a wannabe pimp) or being gobbled up by it. There are cops and John's to make life difficult or lucrative, but it is the spectacularly screwed-up street folks that are on display here either for a stab at gangster coolness or goofy sight gags. Let us get this out of the way, I will probably not see a worse or more disappointing film in 2010 than Carne de Neón.
- 10/10/2010
- Screen Anarchy
Chicago – Few films have conveyed the sensation of an out-of-body experience quite like “Enter the Void,” the latest feature from French filmmaker Gaspar Noé, who continues to be one of the most controversial and innovative filmmakers in modern cinema. When his characters get high, their souls float through space, an experience skillfully depicted by Noé, despite the fact that he’s never experienced it himself.
“I’ve tried for many years to have an out-of-body experience and I’ve never managed to have any,” Noé admits.
The son of an Argentine painter, Noé first gained notoriety with his 1991 short, “Carne,” which was later followed by two features that garnered equal amounts of acclaim and outrage at international festivals. “I Stand Alone” (1998) and “Irreversible” (2002) confronted deeply disturbing subject matter with an almost animalistic intensity, while allowing audiences to reflect on the repercussions of their epically intimate tragedies. Noé’s nihilistic worldview is apparent throughout his work,...
“I’ve tried for many years to have an out-of-body experience and I’ve never managed to have any,” Noé admits.
The son of an Argentine painter, Noé first gained notoriety with his 1991 short, “Carne,” which was later followed by two features that garnered equal amounts of acclaim and outrage at international festivals. “I Stand Alone” (1998) and “Irreversible” (2002) confronted deeply disturbing subject matter with an almost animalistic intensity, while allowing audiences to reflect on the repercussions of their epically intimate tragedies. Noé’s nihilistic worldview is apparent throughout his work,...
- 9/22/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Many things can and will be said about Gaspar Noe’s Enter the Void. In a way, that’s the best way to “review” it. There is so much going on in this film that discussing it in terms of a simple thumbs up or thumbs down might lack merit. It will be just as polarizing as his last film, Irreversible —that is, some will call it a masterpiece, many will walk out. Regardless, it is a significant work. Noe acknowledges this in our interview, speaking of his excitement of walkouts, because it means the film affected them that much. What I love most about films like this is the that they're sincere and personal works, with so much more work going into them than other films out there - this is something that French production co./world sales unit Wild Bunch have understood and demonstrated in their continued support...
- 9/22/2010
- IONCINEMA.com
Gaspar Noé knows pornography. And shooting a sex scene from inside the vagina isn't pornographic. Steve Rose hears about the real boundary being pushed in the incendiary director's new film
Gaspar Noé is tired and hungry. It's a hot afternoon in a London restaurant. He orders a steak, no fries, sauce on the side. He doesn't touch the sauce. Lunch is just a slab of meat. This is somehow exactly what you would expect of Noé. His films slap you round the face, and they demand a strong stomach. The first scene of his first film, the 40-minute Carne, showed a horse being killed and butchered. The second was of a steak on a plate, much like the one in front of him now. Noé's notoriety was sealed by his subsequent features, Seul Contre Tous and Irréversible, both of which were punishing ordeals of brutality, misanthropy and sexual violence, all delivered with undeniable technical brilliance.
Gaspar Noé is tired and hungry. It's a hot afternoon in a London restaurant. He orders a steak, no fries, sauce on the side. He doesn't touch the sauce. Lunch is just a slab of meat. This is somehow exactly what you would expect of Noé. His films slap you round the face, and they demand a strong stomach. The first scene of his first film, the 40-minute Carne, showed a horse being killed and butchered. The second was of a steak on a plate, much like the one in front of him now. Noé's notoriety was sealed by his subsequent features, Seul Contre Tous and Irréversible, both of which were punishing ordeals of brutality, misanthropy and sexual violence, all delivered with undeniable technical brilliance.
- 9/16/2010
- by Steve Rose
- The Guardian - Film News
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