(Welcome to Under the Radar, a column where we spotlight specific movies, shows, trends, performances, or scenes that caught our eye and deserved more attention ... but otherwise flew under the radar. In this edition: the haunting genre-bender "The Beast," the farcical indie "Hundreds of Beavers," and HBO's "The Sympathizer" all stand out as clear highlights.)
Buckle up, folks: The theme of this month's edition of "Under the Radar" falls under the category of weird and wild.
More so than in previous years, this past April marked something of an awkward transition point in the overall release calendar. While Oscar season is well and truly behind us, the summer blockbuster season still remains a few weeks away from truly ramping up in earnest. Sure, the one-two punch of "Kingdom of the Planet of the Apes" and "Furiosa" technically kick off the festivities in short order, but June and July are when the real heavy-hitters -- hello,...
Buckle up, folks: The theme of this month's edition of "Under the Radar" falls under the category of weird and wild.
More so than in previous years, this past April marked something of an awkward transition point in the overall release calendar. While Oscar season is well and truly behind us, the summer blockbuster season still remains a few weeks away from truly ramping up in earnest. Sure, the one-two punch of "Kingdom of the Planet of the Apes" and "Furiosa" technically kick off the festivities in short order, but June and July are when the real heavy-hitters -- hello,...
- 5/8/2024
- by Jeremy Mathai
- Slash Film
The MCU is about to mutate. The arrival of Deadpool & Wolverine is set to bring an all-new flavour to the Marvel universe – teaming up Ryan Reynolds’ Merc With A Mouth and Hugh Jackman’s adamantium-clawed Logan for a mad, meta buddy movie. The new issue of Empire takes a world-exclusive deep-dive into the film speaking to its stars and filmmakers – and you’ll find it on newsstands from Thursday 9 May.
For now, take an early peek at what’s inside the magazine. Hold onto your chimichangas!
Deadpool & Wolverine
What happens when you team up two volatile agents of chaos, take them out of their respective worlds, and plunge them into the MCU? You get Wolverine & Deadpool, a no-holds-barred Marvel movie set to change the game. Empire speaks to Ryan Reynolds, Hugh Jackman, director Shawn Levy, Marvel boss Kevin Feige and more about unleashing mutant mayhem in the Marvel universe.
For now, take an early peek at what’s inside the magazine. Hold onto your chimichangas!
Deadpool & Wolverine
What happens when you team up two volatile agents of chaos, take them out of their respective worlds, and plunge them into the MCU? You get Wolverine & Deadpool, a no-holds-barred Marvel movie set to change the game. Empire speaks to Ryan Reynolds, Hugh Jackman, director Shawn Levy, Marvel boss Kevin Feige and more about unleashing mutant mayhem in the Marvel universe.
- 5/8/2024
- by Ben Travis
- Empire - Movies
Celine Song’s “Materialists” has rounded out its cast with Zoë Winters (“Succession”), Dasha Nekrasova, Louisa Jacobson (“The Gilded Age”) and Marin Ireland (“Eileen”).
The A24 feature starring Dakota Johnson, Chris Evans and Pedro Pascal is described as a New York-set rom-com following a high-end matchmaker who gets involved with a wealthy man. Further details on the plot and the roles of Johnson, Evans and Pascal have not been disclosed.
Winters is best known for her role as Logan Roy’s calculating and confident assistant (and paramour) Kerry on the HBO’s Emmy-winner “Succession.” She and the cast received a 2022 and 2024 SAG Award for best drama ensemble.
Winters’ other film and television credits include “Flatbush Misdemeanors,” “Hunters” and Marc Turtletaub’s feature “Jules,” in which she stars opposite Ben Kingsley. A longtime New York stage actor, Winters appeared in “Heroes of the Fourth Turning” at Playwrights Horizons, for which she...
The A24 feature starring Dakota Johnson, Chris Evans and Pedro Pascal is described as a New York-set rom-com following a high-end matchmaker who gets involved with a wealthy man. Further details on the plot and the roles of Johnson, Evans and Pascal have not been disclosed.
Winters is best known for her role as Logan Roy’s calculating and confident assistant (and paramour) Kerry on the HBO’s Emmy-winner “Succession.” She and the cast received a 2022 and 2024 SAG Award for best drama ensemble.
Winters’ other film and television credits include “Flatbush Misdemeanors,” “Hunters” and Marc Turtletaub’s feature “Jules,” in which she stars opposite Ben Kingsley. A longtime New York stage actor, Winters appeared in “Heroes of the Fourth Turning” at Playwrights Horizons, for which she...
- 5/7/2024
- by Katcy Stephan
- Variety Film + TV
The Beast.She was there on harder terms than any one; she was there as a consequence of things suffered, one way and another, in the interval of years, and she remembered him very much as she was remembered—only a good deal better.So says John Marcher of May Bartram in Henry James’s novella The Beast in the Jungle (1903). Everything coalesces for John and May to reconnect on an October afternoon, having met years prior. Their meeting again is “the sequel of something of which he had lost at the beginning.” What follows is a strained dalliance, never physically realized. John is transfixed by May’s knowledge of his “secret,” the feeling of an imminent doom that has tailed him his entire life. Something awaits him, like a beast in the jungle. And May—only May, whose illness brings her closer and closer to her own death—knows what it is.
- 5/3/2024
- MUBI
Exclusive: Former Fifth Season film head Alexis Garcia has launched CAT5, an action film label that will be backed by his former employers, who are among other investors and partners to be announced at later date. As one of its first projects, CAT5 has signed on to co-finance Black Bear’s Levon’s Trade. The film is in production, with David Ayer-directing the Jason Statham vehicle that was adapted from the Chuck Dixon novel by Sylvester Stallone, with revisions by Ayer. Garcia joins as an executive producer. The film is in production in London and slated for wide theatrical release in the U.S. by Amazon MGM Studios on January 17, 2025.
Garcia spent seven years with Fifth Season and Graham Taylor and Chris Rice, helping build it from its 2017 launch as Endeavor Content. Before that he spent a decade at Endeavor/WME under Ari Emanuel and Patrick Whitesell, where he...
Garcia spent seven years with Fifth Season and Graham Taylor and Chris Rice, helping build it from its 2017 launch as Endeavor Content. Before that he spent a decade at Endeavor/WME under Ari Emanuel and Patrick Whitesell, where he...
- 5/2/2024
- by Mike Fleming Jr
- Deadline Film + TV
We’re thrilled to launch a new feature on The Film Stage highlighting our top recommendations for films currently in theaters, from new releases to restorations receiving a proper theatrical run. While we already provide extensive monthly new-release recommendations and weekly streaming recommendations, as distributors’ roll-outs can vary, we thought it would be helpful to provide a one-stop list to share the essential films that may be on a screen near you. We’ll be updating this page weekly, so be sure to bookmark.
The Beast (Bertrand Bonello)
Where to begin with Bertrand Bonello’s wonderful The Beast? It’s been so gratifying to see the initial reaction to the French filmmaker’s tenth feature, after several decades of increasingly remarkable work––the majority of it dark, beautiful, and sleazy. In fact, for what a discomforting and despairing experience much of The Beast is, when I’ve thought back its moments of real,...
The Beast (Bertrand Bonello)
Where to begin with Bertrand Bonello’s wonderful The Beast? It’s been so gratifying to see the initial reaction to the French filmmaker’s tenth feature, after several decades of increasingly remarkable work––the majority of it dark, beautiful, and sleazy. In fact, for what a discomforting and despairing experience much of The Beast is, when I’ve thought back its moments of real,...
- 5/2/2024
- by The Film Stage
- The Film Stage
Léa Seydoux, George MacKay in BeastImage: Ad Vitam
There’s an instant urgency in The Beast, the latest film from writer-director Bertrand Bonello, that persists despite its hefty runtime of 145 minutes. Even in its quietest moments, as Bonello’s pacing slows to a crawl and we are asked to consider every gesture,...
There’s an instant urgency in The Beast, the latest film from writer-director Bertrand Bonello, that persists despite its hefty runtime of 145 minutes. Even in its quietest moments, as Bonello’s pacing slows to a crawl and we are asked to consider every gesture,...
- 5/1/2024
- by Matthew Jackson
- avclub.com
Welcome to our weekly rundown of the best new music — featuring big new singles, key tracks from our favorite albums, and more. This week, Normani cuts right to the chase with the first single from her highly anticipated debut album, Myke Towers and Bad Bunny link up, and Anitta brings the funk on a super-charged dance hit. Plus, new music from Cash Cobain and Ice Spice, Tems, St. Vincent, and more.
Normani feat. Gunna, “1:59” (YouTube)
Myke Towers feat. Bad Bunny, “Adivino” (YouTube)
Anitta, “Grip” (YouTube)
Cash Cobain, Bay Swag...
Normani feat. Gunna, “1:59” (YouTube)
Myke Towers feat. Bad Bunny, “Adivino” (YouTube)
Anitta, “Grip” (YouTube)
Cash Cobain, Bay Swag...
- 4/26/2024
- by Rolling Stone
- Rollingstone.com
No secret that we love The Beast. But it’s perhaps not even the best Bertrand Bonello film released in 2024. For more than two years I’ve been a major advocate of his lockdown horror Coma (at one point flying to another country to screen it), during which time the film’s struggled to achieve American distribution––a baffling, embarrassing oversight corrected by Film Movement, who are releasing this masterpiece-of-sorts at New York’s Roxy Cinema (where you can see House of Tolerance this weekend) on May 17, with other cities to follow. There’s now a trailer.
As David Katz said in his review from 2022’s Berlinale, “Coma is anything but a navel-gazing work, and more one of imaginative empathy. It is not Being Bertrand Bonello, but addressed to and concerning a person of a far-removed generation and gender: his teenage daughter Anna. Some amusing early interactions with pop culture,...
As David Katz said in his review from 2022’s Berlinale, “Coma is anything but a navel-gazing work, and more one of imaginative empathy. It is not Being Bertrand Bonello, but addressed to and concerning a person of a far-removed generation and gender: his teenage daughter Anna. Some amusing early interactions with pop culture,...
- 4/18/2024
- by Nick Newman
- The Film Stage
French director Bertrand Bonello is rightly back in the imaginations of U.S. cinephiles, as his new film “The Beast” is now playing stateside. The time-hopping sci-fi romantic drama starring Léa Seydoux and George MacKay as would-be lovers across centuries had the biggest opening weekend yet for distributor Sideshow/Janus Films earlier this month. Now, Bertrand Bonello’s previously undistributed 2022 film “Coma” is finally joining “The Beast” at theaters beginning in May from Film Movement. Watch the trailer for “Coma,” an IndieWire exclusive, below.
Combining live-action and animation, “Coma” centers on a teenage girl in lockdown amid a global health crisis (cough cough) who develops a disturbing relationship with a YouTuber. The cast features Louise Labèque, Julia Faure, Gaspard Ulliel, Laetitia Casta, Vincent Lacoste, Louis Garrel, and Anaïs Demoustier. This was the last film Ulliel worked on before he died in January 2022 after a skiing accident. Ulliel was meant to...
Combining live-action and animation, “Coma” centers on a teenage girl in lockdown amid a global health crisis (cough cough) who develops a disturbing relationship with a YouTuber. The cast features Louise Labèque, Julia Faure, Gaspard Ulliel, Laetitia Casta, Vincent Lacoste, Louis Garrel, and Anaïs Demoustier. This was the last film Ulliel worked on before he died in January 2022 after a skiing accident. Ulliel was meant to...
- 4/18/2024
- by Ryan Lattanzio
- Indiewire
As soon as I hit 'publish' on my article on films by director Bertrand Bonello that are now streaming, I realized I forgot to mention his penultimate film, Coma, which is currently not streaming. Then came the very welcome news that Coma is heading for U.S. theatrical release next month! Here's the official synopsis: "Amidst a period of unprecedented world events, an eighteen-year-old girl's life is placed on hold. Isolated in her bedroom, she falls under the spell of the mysterious vlogger Patricia Coma. As time carries on, the lines between her dreams, fears, hopes, and reality begin to blur into one another. "From French master Bertrand Bonello, Coma is 'a neo-Lynchian slow burn masterpiece' (International Cinephile Society) that creates...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 4/16/2024
- Screen Anarchy
Iac, the Barry Diller-owned company that controls The Daily Beast, has landed a strategic partnership with former Disney executive Ben Sherwood and Hearst veteran Joanna Coles to define the digital publication’s next chapter in a struggling media climate.
Effective immediately, Sherwood will serve as publisher and CEO and Coles as chief creative and content officer. As strategic partners, both will share a substantial interest in the company but specific terms of the partnership were not disclosed.
“These are tough times for digital journalism, but the combined experience, expertise and energy of Ben and Joanna have made me an optimist about their ability to make The Beast an enduring and successful enterprise,” said Barry Diller, who is Iac’s chairman and senior executive.
“Timing is everything, and the current media hellstorm feels like the ideal moment to jump back into journalism,” said Sherwood, who formerly served as co-chairman of...
Effective immediately, Sherwood will serve as publisher and CEO and Coles as chief creative and content officer. As strategic partners, both will share a substantial interest in the company but specific terms of the partnership were not disclosed.
“These are tough times for digital journalism, but the combined experience, expertise and energy of Ben and Joanna have made me an optimist about their ability to make The Beast an enduring and successful enterprise,” said Barry Diller, who is Iac’s chairman and senior executive.
“Timing is everything, and the current media hellstorm feels like the ideal moment to jump back into journalism,” said Sherwood, who formerly served as co-chairman of...
- 4/15/2024
- by Jill Goldsmith
- Deadline Film + TV
A pair of high-profile media veterans are taking charge at The Daily Beast.
Iac says that it has formed a “strategic partnership” in the publication with Ben Sherwood, the former president of Disney’s TV group (and the former president of ABC News) as well as Joanna Coles, the former chief content officer for Hearst and editor-in-chief of Cosmopolitan.
Sherwood will be The Daily Beast‘s CEO and publisher, with Coles serving as its chief content and creative officer. In a statement, Coles said the new team would be “bringing The Beast back to its rebel roots and will build on its beloved DNA to make it even beastier.
“Our fearless investigative team will break even more stories on the end of democracy,” she added. “And obviously our Chief Fruit and Vegetable Correspondent is moving to Montecito and will be on 24/7 stand-by for the launch of the American Riviera Orchard.
Iac says that it has formed a “strategic partnership” in the publication with Ben Sherwood, the former president of Disney’s TV group (and the former president of ABC News) as well as Joanna Coles, the former chief content officer for Hearst and editor-in-chief of Cosmopolitan.
Sherwood will be The Daily Beast‘s CEO and publisher, with Coles serving as its chief content and creative officer. In a statement, Coles said the new team would be “bringing The Beast back to its rebel roots and will build on its beloved DNA to make it even beastier.
“Our fearless investigative team will break even more stories on the end of democracy,” she added. “And obviously our Chief Fruit and Vegetable Correspondent is moving to Montecito and will be on 24/7 stand-by for the launch of the American Riviera Orchard.
- 4/15/2024
- by Alex Weprin
- The Hollywood Reporter - Movie News
Chicago – Patrick McDonald of HollywoodChicago.com audio film review for the U.S. release of “The Beast,” a science fiction film about the inherent psychological/emotional carriage within us all, co-written and directed by Bertrand Bonello. In select theaters now (see local listings). At Chicago’s Music Box Theatre on April 12th.
Rating: 5.0/5.0
The film involves a woman named Gabrielle (Léa Seydoux) who in 2044 is about to embark on a “DNA cleansing” to take away the trauma her past lives had endured. While going through the process she meets Louis (George MacKay) who gives her a sense of deja vu. It turns out that this couple has been together in a 1910 sense (Belle Époque Paris) and a 2014 sense (in Los Angeles). As the story of those three encounters play out within her cellular energy, the evolution of Gabrielle seems to have something to do with her connection to Louis.
”The Beast...
Rating: 5.0/5.0
The film involves a woman named Gabrielle (Léa Seydoux) who in 2044 is about to embark on a “DNA cleansing” to take away the trauma her past lives had endured. While going through the process she meets Louis (George MacKay) who gives her a sense of deja vu. It turns out that this couple has been together in a 1910 sense (Belle Époque Paris) and a 2014 sense (in Los Angeles). As the story of those three encounters play out within her cellular energy, the evolution of Gabrielle seems to have something to do with her connection to Louis.
”The Beast...
- 4/12/2024
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
George MacKay became one Hollywood’s most sought after young actors after his starring role as a sweet-faced solider in Sam Mendes’ Oscar-winning “1917.”
But he’s looking much different in his latest film, “Femme.” He stars in the queer revenge thriller from directors Sam H. Freeman and Ng Choon Ping as a closeted street thug who begins a sexual relationship with Jules (Nathan Stewart-Jarrett), a man he doesn’t realize is the drag queen he once brutally gay-bashed.
For the film, MacKay’s body is ripped and covered in tattoos. His hair is shaved and slicked back. He wears tracksuits and garish gold chains and rings, and his working class accent can be hard to decipher.
It took him about eight weeks of “bulking” to get in shape. Even so, MacKay admits he did a lot of push-ups for scenes where he had to be particularly “big and scary.
But he’s looking much different in his latest film, “Femme.” He stars in the queer revenge thriller from directors Sam H. Freeman and Ng Choon Ping as a closeted street thug who begins a sexual relationship with Jules (Nathan Stewart-Jarrett), a man he doesn’t realize is the drag queen he once brutally gay-bashed.
For the film, MacKay’s body is ripped and covered in tattoos. His hair is shaved and slicked back. He wears tracksuits and garish gold chains and rings, and his working class accent can be hard to decipher.
It took him about eight weeks of “bulking” to get in shape. Even so, MacKay admits he did a lot of push-ups for scenes where he had to be particularly “big and scary.
- 4/8/2024
- by Marc Malkin
- Variety Film + TV
There’s little precedent for what George MacKay does in The Beast, a multilingual production that required the English star to learn French for extended sequences. It’s one thing if this were a buttoned-up, altogether bland drama that is never seen on North American screens after its obligatory TIFF premiere; it’s quite another to be the new film by Bertrand Bonello which also requires he play, in the film’s central section, a take on the murderous progenitor of modern incel culture. One imagines many offers since ten-time Oscar nominee 1917 were more commercial.
Thus I wanted to get insight into MacKay’s process. As my interviews with Bertrand Bonello and Léa Seydoux cover, respectively, the film’s creation and its star’s personal philosophy, MacKay and I discussed certain of the practical decision-making that went into his appearing here, some newfound possibilities of French-language productions, and The Beast‘s dark paths.
Thus I wanted to get insight into MacKay’s process. As my interviews with Bertrand Bonello and Léa Seydoux cover, respectively, the film’s creation and its star’s personal philosophy, MacKay and I discussed certain of the practical decision-making that went into his appearing here, some newfound possibilities of French-language productions, and The Beast‘s dark paths.
- 4/8/2024
- by Nick Newman
- The Film Stage
April began with showers, plus a tiny regional earthquake on the East Coast, but that didn’t keep anyone away from theaters, even if it was a slower weekend than much of March. Read on for the weekend box office report.
There was little surprise that Warner Bros.’ “Godzilla x Kong: The New Empire” would win its second weekend at #1. Despite dropping 60% from its fantastic opening weekend, it still was able to take first place with an estimated $31.7 million to bring its total to $135 million after crossing the $100 million mark in its first week. It also passed the $361 million mark globally, with another $59.3 million grossed overseas this weekend.
The weekend offered two new wide releases in Dev Patel‘s directorial debut, the action-thriller “Monkey Man,” and 20th Century’s horror prequel “The First Omen,” the former released into 3,029 theaters vs. “The First Omen’s” 3,375 theaters. “Monkey Man” came into the...
There was little surprise that Warner Bros.’ “Godzilla x Kong: The New Empire” would win its second weekend at #1. Despite dropping 60% from its fantastic opening weekend, it still was able to take first place with an estimated $31.7 million to bring its total to $135 million after crossing the $100 million mark in its first week. It also passed the $361 million mark globally, with another $59.3 million grossed overseas this weekend.
The weekend offered two new wide releases in Dev Patel‘s directorial debut, the action-thriller “Monkey Man,” and 20th Century’s horror prequel “The First Omen,” the former released into 3,029 theaters vs. “The First Omen’s” 3,375 theaters. “Monkey Man” came into the...
- 4/7/2024
- by Edward Douglas
- Gold Derby
Sony Pictures Classics’ Wicked Little Letters grossed an estimated $1.5+ million in a big second week expansion for the R-rated British period comedy to 1,000 screens from five. The Thea Sharrock-directed film starring Olivia Colman (also a producer) and Jessie Buckley, no. 8 at the domestic weekend box office, has a $1.6+ million cume.
Colman and Buckley have been out actively promoting the film, based on an actual scandal, about a police investigation into the anonymous author of crude letters sent to the residents of a British seaside town.
The number is on the high end of SPC’s expectations, and the Sunday estimate may be conservative.
Audiences for Wicked Little Letters are 60% female, 40% male, with a range of women age 30-plus, unusual for a period film as they skew older. It’s playing especially well in major cities and college towns but also popping in smaller markets like Seattle. Word of mouths is terrific,...
Colman and Buckley have been out actively promoting the film, based on an actual scandal, about a police investigation into the anonymous author of crude letters sent to the residents of a British seaside town.
The number is on the high end of SPC’s expectations, and the Sunday estimate may be conservative.
Audiences for Wicked Little Letters are 60% female, 40% male, with a range of women age 30-plus, unusual for a period film as they skew older. It’s playing especially well in major cities and college towns but also popping in smaller markets like Seattle. Word of mouths is terrific,...
- 4/7/2024
- by Jill Goldsmith
- Deadline Film + TV
Exhibitor convention CinemaCon starts tomorrow in Las Vegas, and it would be great to kick off with happy box office news. That’s not the case with surprisingly weak results for two fresh titles, “Monkey Man” (Universal) and “The First Omen” (Disney). They brought the weekend total lower than expected and suggested an already-weak April could slide toward a worst-case scenario.
“Godzilla x Kong: The New Empire” (Warner Bros.) repeated as #1 in its second week, more than tripling the take for #2, Dev Patel’s “Monkey Man.” The franchise’s 60 percent drop isn’t bad, given an opening weekend that included Good Friday and the Easter holidays. It’s grossed $135 million U.S./Canada in 10 days.
After March revitalized the concept of franchises and sequels as an essential part of the distribution ecosystem, the hope was April would demonstrate continued audience interest in lower-budgeted original titles — as evidenced earlier this year...
“Godzilla x Kong: The New Empire” (Warner Bros.) repeated as #1 in its second week, more than tripling the take for #2, Dev Patel’s “Monkey Man.” The franchise’s 60 percent drop isn’t bad, given an opening weekend that included Good Friday and the Easter holidays. It’s grossed $135 million U.S./Canada in 10 days.
After March revitalized the concept of franchises and sequels as an essential part of the distribution ecosystem, the hope was April would demonstrate continued audience interest in lower-budgeted original titles — as evidenced earlier this year...
- 4/7/2024
- by Tom Brueggemann
- Indiewire
“The present came to a halt,” Bertrand Bonello writes in an ode to his teen daughter in his experimental feature Coma, “leaving us with the past and the future.” Much of this subtitled text refers to the specific circumstances of the film’s creation during the pandemic. Yet the French filmmaker’s follow-up, The Beast, which was developed before Coma but shot afterward, feels like a natural extension of his fascination with the scrambled perception of time in a digital era. In Bonello’s time-warping adaptation of Henry James’s 1903 novella The Beast in the Jungle, the present day is the Paris of 2044, where landscape and character have been warped by advances in artificial intelligence.
What’s evergreen, as a repeated aural motif so often reminds, is the twisted relationship of fear and love between Gabrielle (Léa Seydoux) and Louis (George MacKay). Bonello gives us a glance at two of...
What’s evergreen, as a repeated aural motif so often reminds, is the twisted relationship of fear and love between Gabrielle (Léa Seydoux) and Louis (George MacKay). Bonello gives us a glance at two of...
- 4/6/2024
- by Marshall Shaffer
- Slant Magazine
At least stateside, audiences will experience Femme and The Beast, both starring George MacKay, as near-simultaneous releases. The 32-year-old British actor has been a presence for over two decades dating back to his film debut as a Lost Boy in 2003’s adaptation of Peter Pan. He grew up on screen in films like 2008’s Defiance, 2014’s Pride, and 2016’s Captain Fantastic. Twenty nineteen proved a breakthrough year for MacKay as a leading man, playing a heroic soldier on a mission in 1917 and delivering a brooding, brutal interpretation of Australian urban legend Ned Kelly in True History of the Kelly Gang.
MacKay’s latest one-two punch features elements familiar from his previous standout roles and elevates them to new heights. In Sam H. Freeman and Ng Choon Ping’s Femme, he’s electric as Preston, a hardened hypebeast in contemporary London who harbors a secret identity. The character is drawn out...
MacKay’s latest one-two punch features elements familiar from his previous standout roles and elevates them to new heights. In Sam H. Freeman and Ng Choon Ping’s Femme, he’s electric as Preston, a hardened hypebeast in contemporary London who harbors a secret identity. The character is drawn out...
- 4/5/2024
- by Marshall Shaffer
- Slant Magazine
Léa Seydoux tells me “it may be nicer to have eye contact.” Though I was informed our interview would be audio-only––no complaints; time with the most exciting actor of her generation is the last time to grouse––it’s about six seconds into our Zoom call before she decides something more is necessary. Such directness will perfectly presage our conversation.
You’ll find this interview does not make great strides to cover The Beast (here’s one that does), despite Seydoux’s fascinating admission that Bertrand Bonello’s film wasn’t an easy viewing experience––her reason for which facilitated one of the more candid, no-frills conversations I’ve ever had with an actor. Fitting for someone who can embrace both knotty material and an international superstar’s career to extents that greatly exceed her Anglophone counterparts.
The Film Stage: I revisisted an interview I did with Arnaud Desplechin...
You’ll find this interview does not make great strides to cover The Beast (here’s one that does), despite Seydoux’s fascinating admission that Bertrand Bonello’s film wasn’t an easy viewing experience––her reason for which facilitated one of the more candid, no-frills conversations I’ve ever had with an actor. Fitting for someone who can embrace both knotty material and an international superstar’s career to extents that greatly exceed her Anglophone counterparts.
The Film Stage: I revisisted an interview I did with Arnaud Desplechin...
- 4/5/2024
- by Nick Newman
- The Film Stage
In the Mood for Love & Death: Bonello Explores the Final Frontier of Emotional Intelligence
Throughout the dizzying centuries-spanning odyssey of an unrequited love in Bertrand Bonello’s formidable film La Bête, we puzzle together a complex set of symbols, subtexts and parallel themes on the evolution of how humankind’s technological advances may have affected but still not answered how to satisfy our eternal quest for the thing called love. Outside of solutions which aim to simply numb it, cut it out, or therapize it with tranquility assisted by medication. Such is a main approach into conveying the spectacular cinematic experience of Bonello’s latest, an aggravating, aching masterpiece about the satisfaction of a longing we’re conditioned to search for, but never feels like the experience we’re coerced into expecting based on a myriad of cultural signifiers.…...
Throughout the dizzying centuries-spanning odyssey of an unrequited love in Bertrand Bonello’s formidable film La Bête, we puzzle together a complex set of symbols, subtexts and parallel themes on the evolution of how humankind’s technological advances may have affected but still not answered how to satisfy our eternal quest for the thing called love. Outside of solutions which aim to simply numb it, cut it out, or therapize it with tranquility assisted by medication. Such is a main approach into conveying the spectacular cinematic experience of Bonello’s latest, an aggravating, aching masterpiece about the satisfaction of a longing we’re conditioned to search for, but never feels like the experience we’re coerced into expecting based on a myriad of cultural signifiers.…...
- 4/5/2024
- by Nicholas Bell
- IONCINEMA.com
Every time I’ve seen The Beast there comes some point where I think Bertrand Bonello is the world’s greatest under-60 filmmaker. Not quite a new stance for me (declaring Saint Laurent the best movie of the 2010s was a lonely battle), but it’s exactly this accumulation of films through years and years of appreciation that makes his newest film’s climax so powerful, so cascading in its effects, so potent in the question of who’s even treating images and montage in service of such heady narrative frameworks and sharp-tuned performances. If I confess unique bias, having worked on Bonello’s films in the distribution realm––the theatrical and home-video release of Nocturama, the digital debut of Ingrid Caven: Music and Voice, and producing a vinyl LP of his original soundtracks––it means I’ve also seen a shift in perception, from cult figure to major figure of world cinema.
- 4/4/2024
- by Nick Newman
- The Film Stage
Updated April 3, 2024: Léa Seydoux has officially joined the cast of Luca Guadagnino’s “Separate Rooms” alongside Josh O’Connor. The queer-romance film involves a love triangle between O’Connor’s character Leo, his ill-fated lover Thomas, and a woman. Deadline first reported the news. “The Beast” star Seydoux recently appeared in “Dune: Part Two” and will join the central three-hander.
Published March 25, 2024: Luca Guadagnino is set to team up once more with “Challengers” actor Josh O’Connor for his upcoming feature “Separate Rooms,” according to a report in Variety.
The film is a queer drama adapted from the novel of the same name by late author Pier Vittorio Tondelli. O’Connor would play the lead role Leo, an Italian writer who is mourning the death of his musician boyfriend Thomas. Variety first reported the news and claimed that O’Connor has been studying Italian for the role.
Reps for...
Published March 25, 2024: Luca Guadagnino is set to team up once more with “Challengers” actor Josh O’Connor for his upcoming feature “Separate Rooms,” according to a report in Variety.
The film is a queer drama adapted from the novel of the same name by late author Pier Vittorio Tondelli. O’Connor would play the lead role Leo, an Italian writer who is mourning the death of his musician boyfriend Thomas. Variety first reported the news and claimed that O’Connor has been studying Italian for the role.
Reps for...
- 4/3/2024
- by Samantha Bergeson
- Indiewire
Exclusive: Léa Seydoux (Dune: Part Two) is attached to star opposite Josh O’Connor (Challengers) in Separate Rooms, an upcoming film from Luca Guadagnino, multiple sources tell Deadline.
An adaptation of the 1989 novel by the late author Pier Vittorio Tondelli, the film is a non-chronological examination of the romance between the Italian iconoclast writer, Leo (O’Connor), and his translator, Thomas. Details as to the role Seydoux is playing haven’t been disclosed.
The script comes from Francesca Manieri, who collaborated with Guadagnino on his Sky/HBO series We Are Who We Are. Lorenzo Mieli will produce for Fremantle, following his work with Guadagnino on his cannibal romance Bones and All, starring Timothée Chalamet, which won Guadagnino the prize for Best Director at the 2022 Venice Film Festival.
Best known for starring in the Bond films Spectre and No Time to Die, as well as Abdellatif Kechiche’s Palme d’Or winner Blue Is the Warmest Color,...
An adaptation of the 1989 novel by the late author Pier Vittorio Tondelli, the film is a non-chronological examination of the romance between the Italian iconoclast writer, Leo (O’Connor), and his translator, Thomas. Details as to the role Seydoux is playing haven’t been disclosed.
The script comes from Francesca Manieri, who collaborated with Guadagnino on his Sky/HBO series We Are Who We Are. Lorenzo Mieli will produce for Fremantle, following his work with Guadagnino on his cannibal romance Bones and All, starring Timothée Chalamet, which won Guadagnino the prize for Best Director at the 2022 Venice Film Festival.
Best known for starring in the Bond films Spectre and No Time to Die, as well as Abdellatif Kechiche’s Palme d’Or winner Blue Is the Warmest Color,...
- 4/3/2024
- by Matt Grobar
- Deadline Film + TV
The world is heating up out there, but the gusts and erratic temperature swings of early Spring can often be deceiving. One minute it looks sunny and warm, the next you’re stranded on a long walk in just basketball shorts when a sudden chill descends. Or it looks nasty, and all of a sudden you’re overdressed in 80-degree heat. It might be best to stay safely within the confines of your local art house or home theater with some Don’t-Miss Indies instead.
Monkey Man
When You Can Watch: April 5
Where You Can Watch: Theaters
Directors: Dev Patel
Cast: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala
Why We’re Excited: Famous for his lead role in the Oscar-winning Slumdog Millionaire, Dev Patel has turned his attention to directing with his debut Monkey Man, which premiered last month at SXSW. Inspired by the Indian legend of Hanuman, Monkey Man...
Monkey Man
When You Can Watch: April 5
Where You Can Watch: Theaters
Directors: Dev Patel
Cast: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala
Why We’re Excited: Famous for his lead role in the Oscar-winning Slumdog Millionaire, Dev Patel has turned his attention to directing with his debut Monkey Man, which premiered last month at SXSW. Inspired by the Indian legend of Hanuman, Monkey Man...
- 4/3/2024
- by Su Fang Tham
- Film Independent News & More
It’s too bright, the sunshine is monotonous, it’s very isolating. Those were the reasons why Chloë Sevigny, in a recent viral interview, said she will never live in Los Angeles. Anyone who’s lived there can relate to the loneliness that blankets the fragmented city, a collection of neighborhoods strung together by cars in traffic, where nobody walks or talks to each other. And why does everyone flake on plans? What are we afraid of?
That’s much like the central dilemma in Bertrand Bonello’s “The Beast,” a time-hopping sci-fi epic about the existential terrors of unrequited love, green-screen-acting, incel killers, artificial intelligence, and, oh, yes, Los Angeles. Léa Seydoux and George MacKay play reincarnated almost-lovers across time who can never make it work: first, in fin-de-siècle Paris (she’s married); then, in 2014 Los Angeles (he’s a sociopathic virgin inspired by 2014 Isla Vista shooter Elliot Rodger...
That’s much like the central dilemma in Bertrand Bonello’s “The Beast,” a time-hopping sci-fi epic about the existential terrors of unrequited love, green-screen-acting, incel killers, artificial intelligence, and, oh, yes, Los Angeles. Léa Seydoux and George MacKay play reincarnated almost-lovers across time who can never make it work: first, in fin-de-siècle Paris (she’s married); then, in 2014 Los Angeles (he’s a sociopathic virgin inspired by 2014 Isla Vista shooter Elliot Rodger...
- 4/3/2024
- by Ryan Lattanzio
- Indiewire
As most connoisseurs of cinema already know, the end credit roll is a relatively recent addition to the medium. The reasons for this are too lengthy to go into here, but suffice to say that films used to end very definitively and, at least for those of us raised in a world where end credits were already a thing, quite abruptly, sending audiences out of the theater with a brusqueness not unlike a train disembarking.
Ever since end credit rolls became commonplace, filmmakers have experimented with finding ways of extending the cinematic experience throughout their duration rather than treating them the way so many moviegoers tend to: as mere legally-mandated appendages to a movie. While even the most basic film includes music during the end credits so as to help keep the roll a part of the movie, some go above and beyond that, including deleted material, bloopers, or entire...
Ever since end credit rolls became commonplace, filmmakers have experimented with finding ways of extending the cinematic experience throughout their duration rather than treating them the way so many moviegoers tend to: as mere legally-mandated appendages to a movie. While even the most basic film includes music during the end credits so as to help keep the roll a part of the movie, some go above and beyond that, including deleted material, bloopers, or entire...
- 4/1/2024
- by Bill Bria
- Slash Film
Update: the Roxy have added encore dates for House of Tolerance. See them below along with ticket info.
Bonello Season approaches. In anticipation of the U.S. release of The Beast and, at long last, Coma––or just an excuse to watch one of this (any) century’s greatest films; either works!––The Film Stage is proud to present his masterpiece House of Tolerance at the Roxy Cinema on March 14, 16, and 17, marking New York’s first 35mm showing in five years.
Special thanks to our friends at Janus Films / Sideshow Films and Film Movement, who will present trailers for their upcoming, respective Bonello releases The Beast and Coma.
The Film Stage readers receive a discounted $12 ticket with mention of our program at the Roxy’s box office. (Don’t be shy––their employees are very nice.) We look forward to seeing you at the movies.
House of Tolerance on 35mm
Tuesday,...
Bonello Season approaches. In anticipation of the U.S. release of The Beast and, at long last, Coma––or just an excuse to watch one of this (any) century’s greatest films; either works!––The Film Stage is proud to present his masterpiece House of Tolerance at the Roxy Cinema on March 14, 16, and 17, marking New York’s first 35mm showing in five years.
Special thanks to our friends at Janus Films / Sideshow Films and Film Movement, who will present trailers for their upcoming, respective Bonello releases The Beast and Coma.
The Film Stage readers receive a discounted $12 ticket with mention of our program at the Roxy’s box office. (Don’t be shy––their employees are very nice.) We look forward to seeing you at the movies.
House of Tolerance on 35mm
Tuesday,...
- 4/1/2024
- by Nick Newman
- The Film Stage
Léa Seydoux was originally meant to star opposite Gaspard Ulliel in Bertrand Bonello’s audacious sci-fi love story “The Beast.” But the beloved César-winning French actor died at age 37 in January 2022 after a skiing accident while the film was still in pre-production, and he was posthumously replaced by George MacKay.
Seydoux previously starred alongside Ulliel, revered for roles in movies including Jean-Pierre Jeunet’s “A Very Long Engagement” and Bonello’s own “Saint Laurent,” in Xavier Dolan’s 2016 Cannes winner “It’s Only the End of the World.” Seydoux, who recently spoke with IndieWire about her multiple roles in “The Beast” as a woman confronted across centuries by a devastating impossible romance, did not get the chance to talk to Ulliel about “The Beast” before filming. He did, however, leave her a WhatsApp voice message praising her turn in Bruno Dumont’s media satire “France,” a box office hit in France...
Seydoux previously starred alongside Ulliel, revered for roles in movies including Jean-Pierre Jeunet’s “A Very Long Engagement” and Bonello’s own “Saint Laurent,” in Xavier Dolan’s 2016 Cannes winner “It’s Only the End of the World.” Seydoux, who recently spoke with IndieWire about her multiple roles in “The Beast” as a woman confronted across centuries by a devastating impossible romance, did not get the chance to talk to Ulliel about “The Beast” before filming. He did, however, leave her a WhatsApp voice message praising her turn in Bruno Dumont’s media satire “France,” a box office hit in France...
- 3/31/2024
- by Ryan Lattanzio
- Indiewire
“The Beast” is a new science fiction romance, directed by Bertrand Bonello, starring Léa Seydoux, George MacKay, Guslagie Malanda, Dasha Nekrasova, Martin Scalia and Elina Löwensohn, opening April 5, 2024 in theaters:
“…in 2044, ‘AI’ has evolved and determined human emotion as a threat.
“As ‘Gabrielle’ is about to go through a process to ‘purify’ her ‘DNA’ and disconnect from those emotions - she does so by living through past lives.
“But when she begins to connect with a man named ‘Louis’ across history, she realizes her emotions are much stronger than she could anticipate…”
Click the images to enlarge…...
“…in 2044, ‘AI’ has evolved and determined human emotion as a threat.
“As ‘Gabrielle’ is about to go through a process to ‘purify’ her ‘DNA’ and disconnect from those emotions - she does so by living through past lives.
“But when she begins to connect with a man named ‘Louis’ across history, she realizes her emotions are much stronger than she could anticipate…”
Click the images to enlarge…...
- 3/29/2024
- by Unknown
- SneakPeek
It’s been nearly 70 years since Godzilla first step foot on the silver screen with Ishiro Honda’s 1954 opus, Gojira. What started as an allegory about the horrors of the atomic bomb and war has since been reimagined myriad times to cover everything from the awesome forces of nature to geopolitical alliances, the absurdities of consumerism to mankind’s inability to curb pollution. Whether Godzilla is a tragic monster, a defender of earth, or children’s role model, there’s no denying the appeal the Big G has to audiences.
After all, it’s damn entertaining to watch a giant monster stomping around the streets of a metropolis and leaving a path of destruction. Sure, American movies like King Kong and The Beast from 20,000 Fathoms primed American audiences for features of this magnitude. But really, it was Godzilla and the evolution of the IP’s unique genre of films — kaiju...
After all, it’s damn entertaining to watch a giant monster stomping around the streets of a metropolis and leaving a path of destruction. Sure, American movies like King Kong and The Beast from 20,000 Fathoms primed American audiences for features of this magnitude. But really, it was Godzilla and the evolution of the IP’s unique genre of films — kaiju...
- 3/28/2024
- by Kyle Cubr
- bloody-disgusting.com
Fifth Season has promoted Christopher Slager to head of film as it expands in-house production and development and announced that Alexis Garcia is leaving to set up his own venture with backing from the company.
Slager, who has been at Fifth Season for some time, previously served as a partner and SVP of film finance and sales at Endeavor Content, and before that worked at WME.
Prior to that he was at Focus Features. Credits include The Florida Project, Mudbound, The Banker, The Peanut Butter Falcon, Pig, and the Book Club franchise.
Slager will take charge of the film studio...
Slager, who has been at Fifth Season for some time, previously served as a partner and SVP of film finance and sales at Endeavor Content, and before that worked at WME.
Prior to that he was at Focus Features. Credits include The Florida Project, Mudbound, The Banker, The Peanut Butter Falcon, Pig, and the Book Club franchise.
Slager will take charge of the film studio...
- 3/27/2024
- ScreenDaily
Fifth Season has upped Christopher Slager to Head of Film as the studio expands its in-house production and development of feature films.
Slager will oversee the studio’s anticipated productions including Netflix/Artists Equity’s Animals, starring Matt Damon and directed by Ben Affleck, as well as the Samuel L. Jackson and Joel Kinnaman movie The Beast directed by Emmy winner James Madigan.
Alexis Garcia, who previously managed features, will launch a new venture with backing from Fifth Season, details to be announced down the road. Garcia will remain a consultant to the studio during his transition.
Among those titles on the horizon for Fifth Season under Slager’s watch are Stephen Chbosky’s Nonnas, starring Vince Vaughn, Susan Sarandon, and Linda Cardellini; Jan Komasa’s Anniversary, starring Diane Lane, Kyle Chandler, Dylan O’Brien, Zoey Deutch, Phoebe Dynevor, Madeline Brewer, Mckenna Grace, and Daryl McCormack; Nick Rowland’s She Rides Shotgun,...
Slager will oversee the studio’s anticipated productions including Netflix/Artists Equity’s Animals, starring Matt Damon and directed by Ben Affleck, as well as the Samuel L. Jackson and Joel Kinnaman movie The Beast directed by Emmy winner James Madigan.
Alexis Garcia, who previously managed features, will launch a new venture with backing from Fifth Season, details to be announced down the road. Garcia will remain a consultant to the studio during his transition.
Among those titles on the horizon for Fifth Season under Slager’s watch are Stephen Chbosky’s Nonnas, starring Vince Vaughn, Susan Sarandon, and Linda Cardellini; Jan Komasa’s Anniversary, starring Diane Lane, Kyle Chandler, Dylan O’Brien, Zoey Deutch, Phoebe Dynevor, Madeline Brewer, Mckenna Grace, and Daryl McCormack; Nick Rowland’s She Rides Shotgun,...
- 3/27/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Christopher Slager has been promoted to head film operations at Fifth Season, with longtime features head Alexis Garcia exiting the company to launch a yet-to-be revealed venture.
Garcia, whose new outfit is receiving backing from Fifth Season, will remain with the company as a consultant through the transition.
According to Wednesday’s announcement from Fifth Season co-CEOs Graham Taylor and Chris Rice, Slager will focus on in-house production and development. The company’s recent film credits include 80 for Brady, the Apple Sundance acquisition Flora and Son and Maggie Gyllenhaal’s The Lost Daughter.
“Christopher is one of the most dynamic and entrepreneurial executives working today,” said Taylor and Rice. “We believe there is a huge opportunity ahead in the film space, and we are committed to expanding our focus on in-house production and development under his leadership.”
Added Slager, “Over the last decade and a half, I’ve been inspired...
Garcia, whose new outfit is receiving backing from Fifth Season, will remain with the company as a consultant through the transition.
According to Wednesday’s announcement from Fifth Season co-CEOs Graham Taylor and Chris Rice, Slager will focus on in-house production and development. The company’s recent film credits include 80 for Brady, the Apple Sundance acquisition Flora and Son and Maggie Gyllenhaal’s The Lost Daughter.
“Christopher is one of the most dynamic and entrepreneurial executives working today,” said Taylor and Rice. “We believe there is a huge opportunity ahead in the film space, and we are committed to expanding our focus on in-house production and development under his leadership.”
Added Slager, “Over the last decade and a half, I’ve been inspired...
- 3/27/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
David Cronenberg is set to release his most personal film yet with “The Shrouds.” But it won’t involve Léa Seydoux.
The supernatural drama stars Vincent Cassel as a grieving businessman who builds a state-of-the-art device that helps people reconnect with the dead, unraveling memories of his late wife in the process. Cronenberg was inspired to write and direct the film, originally conceived as a series at Netflix before the streamer passed, after the death of his own wife, film editor Carolyn Cronenberg, in 2017.
Cronenberg originally cast Léa Seydoux as the co-lead opposite Vincent Cassel. The director first worked with Seydoux on “Crimes of the Future,” where she starred as one-half of a performance artist couple who perform surgeries before live audiences, opposite Viggo Mortensen. But while the Canadian filmmaker’s 2022 production was a mix of English-speaking actors from Europe and the U.S., “The Shrouds” proved a different challenge...
The supernatural drama stars Vincent Cassel as a grieving businessman who builds a state-of-the-art device that helps people reconnect with the dead, unraveling memories of his late wife in the process. Cronenberg was inspired to write and direct the film, originally conceived as a series at Netflix before the streamer passed, after the death of his own wife, film editor Carolyn Cronenberg, in 2017.
Cronenberg originally cast Léa Seydoux as the co-lead opposite Vincent Cassel. The director first worked with Seydoux on “Crimes of the Future,” where she starred as one-half of a performance artist couple who perform surgeries before live audiences, opposite Viggo Mortensen. But while the Canadian filmmaker’s 2022 production was a mix of English-speaking actors from Europe and the U.S., “The Shrouds” proved a different challenge...
- 3/26/2024
- by Ryan Lattanzio
- Indiewire
You know the gifted actor George MacKay from films like 1917 or True History of The Kelly Gang. Now he has given us two absolutely incredible performances in Femme (in select theaters now) and The Beast (out on April 5th). On this episode, he takes us into his process of inhabiting these two extremely different characters. He explains why context is becoming more and more important to him in his preparation, talks about the actor as storyteller, the secret to appearing truly menacing, those sex scenes in Femme, a lesson about respect that he learned from Eddie Marsan, and much […]
The post “All You Can Do is Give Your Offering” George MacKay, Back To One, Episode 284 first appeared on Filmmaker Magazine.
The post “All You Can Do is Give Your Offering” George MacKay, Back To One, Episode 284 first appeared on Filmmaker Magazine.
- 3/26/2024
- by Peter Rinaldi
- Filmmaker Magazine - Blog
You know the gifted actor George MacKay from films like 1917 or True History of The Kelly Gang. Now he has given us two absolutely incredible performances in Femme (in select theaters now) and The Beast (out on April 5th). On this episode, he takes us into his process of inhabiting these two extremely different characters. He explains why context is becoming more and more important to him in his preparation, talks about the actor as storyteller, the secret to appearing truly menacing, those sex scenes in Femme, a lesson about respect that he learned from Eddie Marsan, and much […]
The post “All You Can Do is Give Your Offering” George MacKay, Back To One, Episode 284 first appeared on Filmmaker Magazine.
The post “All You Can Do is Give Your Offering” George MacKay, Back To One, Episode 284 first appeared on Filmmaker Magazine.
- 3/26/2024
- by Peter Rinaldi
- Filmmaker Magazine-Director Interviews
Exclusive: Lori McCreary and Morgan Freeman’s Revelations Entertainment is partnering with the podcast Ear Hustle — part of the Radiotopia podcast network from Prx — on a docuseries adaptation.
Co-hosted by Nigel Poor and Earlonne Woods, Ear Hustle launched in 2017 as the first podcast created and produced in prison. A two-time Peabody Awards finalist, National Magazine Awards finalist, and Pulitzer Prize finalist downloaded more than 78 million times, the show is made by a team both inside and out of San Quentin State Prison in California, traversing stories such as finding romance, grappling with a life sentence, trying to parent via 15-minute phone calls, getting out and starting over, and beyond.
With the series to be directed by Erika Cohn, the two-time Emmy and Peabody Award-winning filmmaker behind New York Times Critics Pick Belly of the Beast, Revelations aims to capture authentic, raw and surprising stories of prison life by delving even...
Co-hosted by Nigel Poor and Earlonne Woods, Ear Hustle launched in 2017 as the first podcast created and produced in prison. A two-time Peabody Awards finalist, National Magazine Awards finalist, and Pulitzer Prize finalist downloaded more than 78 million times, the show is made by a team both inside and out of San Quentin State Prison in California, traversing stories such as finding romance, grappling with a life sentence, trying to parent via 15-minute phone calls, getting out and starting over, and beyond.
With the series to be directed by Erika Cohn, the two-time Emmy and Peabody Award-winning filmmaker behind New York Times Critics Pick Belly of the Beast, Revelations aims to capture authentic, raw and surprising stories of prison life by delving even...
- 3/21/2024
- by Matt Grobar
- Deadline Film + TV
In 2019, the documentary of 80s horror In Search of Darkness became an instant hit with horror fans. Now, a beautiful coffee table style companion book is available and is a must-own for all fans of one of horror’s greatest eras. The book is a walk down the horror aisle of the best mom and pop video store in the heyday of VHS, featuring full color photos, poster art, insightful essays and more. More than just a nostalgic throwback, In Search of Darkness is the kind of book I wish I’d had back in my years as a burgeoning horror fan but is also satisfying for the film fanatic I have become in the years since.
The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays...
The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays...
- 3/18/2024
- by Brian Keiper
- bloody-disgusting.com
April’s an uncommonly strong auteurist month for the Criterion Channel, who will highlight a number of directors––many of whom aren’t often grouped together. Just after we screened House of Tolerance at the Roxy Cinema, Criterion are showing it and Nocturama for a two-film Bertrand Bonello retrospective, starting just four days before The Beast opens. Larger and rarer (but just as French) is the complete Jean Eustache series Janus toured last year. Meanwhile, five William Friedkin films and work from Makoto Shinkai, Lizzie Borden, and Rosine Mbakam are given a highlight.
One of my very favorite films, Comrades: Almost a Love Story plays in a series I’ve been trying to program for years: “Hong Kong in New York,” boasting the magnificent Full Moon in New York, Farewell China, and An Autumn’s Tale. Wim Wenders gets his “Adventures in Moviegoing”; After Hours, Personal Shopper, and Werckmeister Harmonies fill...
One of my very favorite films, Comrades: Almost a Love Story plays in a series I’ve been trying to program for years: “Hong Kong in New York,” boasting the magnificent Full Moon in New York, Farewell China, and An Autumn’s Tale. Wim Wenders gets his “Adventures in Moviegoing”; After Hours, Personal Shopper, and Werckmeister Harmonies fill...
- 3/18/2024
- by Nick Newman
- The Film Stage
Even in 1688, there were fuckboys. Such is the first and best lesson of Alice Lowe’s “Timestalker,” even if it’s one our leading lady Agnes has to learn over and over and over and over. That’s the gimmick of Lowe’s second feature film — a winning follow-up to her bloody good 2016 feature directorial debut “Prevenge” — which is billed as a “reincarnation rom com.” Mostly, the feature serves as a stellar reminder of the elasticity of genre and Lowe’s ability to stretch any apparent limits however she sees fit.
Consider Lowe’s sophomore film a canny, slightly sweeter companion to Bertrand Bonello’s similarly plotted “The Beast”: Both films follow a pair of star-crossed lovers who continue to meet in different times, places, and stations, only to fuck it up each time. In Lowe’s version, however, her Agnes is the only one aware of what’s actually unspooling here.
Consider Lowe’s sophomore film a canny, slightly sweeter companion to Bertrand Bonello’s similarly plotted “The Beast”: Both films follow a pair of star-crossed lovers who continue to meet in different times, places, and stations, only to fuck it up each time. In Lowe’s version, however, her Agnes is the only one aware of what’s actually unspooling here.
- 3/8/2024
- by Kate Erbland
- Indiewire
Léa Seydoux has had a lot of success with Hollywood blockbusters, appearing in two James Bond films — Spectre and No Time to Die — and now in Dune: Part Two, where she plays Lady Margot Fenring.
But despite those triumphs, the French actress said in a recent Harper’s Bazaar interview that acting in Europe is easier on a woman than it is being in the industry in the U.S.
“The industry in America…” she trails off, searching for the words. “I find it harsh on women. It’s hard for women to age. I don’t want to be afraid not to be desirable or to lose my contract. In America, it’s economic, and when it becomes a matter of making money, you lose your freedom. I don’t feel comfortable with the fact that you have to tick all the boxes. Being a woman on screen is easier in Europe.
But despite those triumphs, the French actress said in a recent Harper’s Bazaar interview that acting in Europe is easier on a woman than it is being in the industry in the U.S.
“The industry in America…” she trails off, searching for the words. “I find it harsh on women. It’s hard for women to age. I don’t want to be afraid not to be desirable or to lose my contract. In America, it’s economic, and when it becomes a matter of making money, you lose your freedom. I don’t feel comfortable with the fact that you have to tick all the boxes. Being a woman on screen is easier in Europe.
- 3/7/2024
- by Bruce Haring
- Deadline Film + TV
Léa Seydoux shared that she finds it “easier” to work as an actor in Europe compared to America.
The French actress, who has also starred in a number of big Hollywood franchises, including James Bond’s Spectre and No Time to Die, Mission: Impossible – Ghost Protocol and Dune: Part Two, recently opened up to Harper’s Bazaar U.K. about her experiences working on American projects.
“The industry in America…I find it harsh on women,” Seydoux admitted. “It’s hard for women to age. I don’t want to be afraid not to be desirable or to lose my contract. In America it’s economic, and when it becomes a matter of making money, you lose your freedom. I don’t feel comfortable with the fact that you have to tick all the boxes. Being a woman on screen is easier in Europe.”
However, The Beast actress added...
The French actress, who has also starred in a number of big Hollywood franchises, including James Bond’s Spectre and No Time to Die, Mission: Impossible – Ghost Protocol and Dune: Part Two, recently opened up to Harper’s Bazaar U.K. about her experiences working on American projects.
“The industry in America…I find it harsh on women,” Seydoux admitted. “It’s hard for women to age. I don’t want to be afraid not to be desirable or to lose my contract. In America it’s economic, and when it becomes a matter of making money, you lose your freedom. I don’t feel comfortable with the fact that you have to tick all the boxes. Being a woman on screen is easier in Europe.”
However, The Beast actress added...
- 3/7/2024
- by Carly Thomas
- The Hollywood Reporter - Movie News
Léa Seydoux prefers working on her original side of the pond than her adopted one — in Europe, she says, they know how to treat a lady (onscreen).
The French “Dune: Part Two” star revealed during a Harper’s Bazaar UK cover story that she finds being a working actress in Europe to be “easier” than in “harsh” Hollywood.
“The industry in America, I find it harsh on women,” Seydoux, 38, said. “It’s hard for women to age. I don’t want to be afraid not to be desirable or to lose my contract. In America it’s economic, and when it becomes a matter of making money, you lose your freedom. I don’t feel comfortable with the fact that you have to tick all the boxes. Being a woman on screen is easier in Europe.”
Seydoux, who also stars in upcoming romance drama “The Beast,” is hardly the first...
The French “Dune: Part Two” star revealed during a Harper’s Bazaar UK cover story that she finds being a working actress in Europe to be “easier” than in “harsh” Hollywood.
“The industry in America, I find it harsh on women,” Seydoux, 38, said. “It’s hard for women to age. I don’t want to be afraid not to be desirable or to lose my contract. In America it’s economic, and when it becomes a matter of making money, you lose your freedom. I don’t feel comfortable with the fact that you have to tick all the boxes. Being a woman on screen is easier in Europe.”
Seydoux, who also stars in upcoming romance drama “The Beast,” is hardly the first...
- 3/5/2024
- by Samantha Bergeson
- Indiewire
The champagne may be flowing at the kickoff for the 27th Annual Sonoma International Film Festival – for more reasons than one.
This year’s event in California’s wine country will open with the U.S. premiere of Widow Clicquot, directed by Thomas Napper, a narrative feature about the Grande Dame of Champagne. Actress Haley Bennett stars in the titular role of Barbe-Nicole Ponsardin Clicquot, “who against all odds advanced her late husband’s techniques to create the recipe for modern-day champagne.”
Siff, running from March 20-24, will showcase 43 narrative features, 16 documentary features, and 48 short films representing more than 25 countries, according to a release.
Maya Hawke in ‘Wildcat’
The festival’s Centerpiece Film is Wildcat, directed by Ethan Hawke and starring his daughter Maya Hawke as renowned Southern Gothic author Flannery O’Connor. The Closing Night Film is Luc Besson’s crime drama Dogman, starring Caleb Landry Jones. A Closing Night...
This year’s event in California’s wine country will open with the U.S. premiere of Widow Clicquot, directed by Thomas Napper, a narrative feature about the Grande Dame of Champagne. Actress Haley Bennett stars in the titular role of Barbe-Nicole Ponsardin Clicquot, “who against all odds advanced her late husband’s techniques to create the recipe for modern-day champagne.”
Siff, running from March 20-24, will showcase 43 narrative features, 16 documentary features, and 48 short films representing more than 25 countries, according to a release.
Maya Hawke in ‘Wildcat’
The festival’s Centerpiece Film is Wildcat, directed by Ethan Hawke and starring his daughter Maya Hawke as renowned Southern Gothic author Flannery O’Connor. The Closing Night Film is Luc Besson’s crime drama Dogman, starring Caleb Landry Jones. A Closing Night...
- 3/2/2024
- by Matthew Carey
- Deadline Film + TV
Wrestler The Beast has been a dominating force within Wow- Women Of Wrestling. However, that doesn’t mean the powerhouse hasn’t been without her setbacks. The first African-American world champion had to relinquish her title in 2022 after suffering a devastating leg injury. Since then the chiseled and imposing figure has been on the comeback trail, looking to reclaim what she lost. Through this journey The Beast, real name Twana Barnett-Ferguson, has been at the forefront of promoting the brand. She has appeared alongside Jeanie Buss, Los Angeles Lakers president and Wow – Women Of Wrestling co-owner, promoting the brand at Comic-Con and shows like The Talk. We caught up with the trailblazer on what it means to represent Wow – Women of Wrestling and her hopes beyond growing their syndicated weekly series. With this being Black History Month, how do you look back on winning the Wow- Women Of Wrestling championship?...
- 2/28/2024
- TV Insider
The International Film Festival Rotterdam has always been something of a grab bag. This year, at the 53rd edition, the Dutch festival showed 424 films across its various programmes — a reduction from past years due to widespread budget cuts. Still, 424 films (including 183 world premieres) is a mammoth undertaking for any one film critic at a major festival lacking an intuitive method of whittling down a schedule. This is especially true for international press less interested in the trickle-down from Cannes or Venice — Agniezka Holland’s audience award-winner Green Border, Bertrand Bonello’s The Beast, and Alice Rohrwacher’s La […]
The post Rotterdam 2024 Critic’s Notebook: A Spoiling Rain, The Ballad of Suzanne Césaire, Under a Blue Sun and 102 Narra first appeared on Filmmaker Magazine.
The post Rotterdam 2024 Critic’s Notebook: A Spoiling Rain, The Ballad of Suzanne Césaire, Under a Blue Sun and 102 Narra first appeared on Filmmaker Magazine.
- 2/19/2024
- by Beatrice Loayza
- Filmmaker Magazine - Blog
The International Film Festival Rotterdam has always been something of a grab bag. This year, at the 53rd edition, the Dutch festival showed 424 films across its various programmes — a reduction from past years due to widespread budget cuts. Still, 424 films (including 183 world premieres) is a mammoth undertaking for any one film critic at a major festival lacking an intuitive method of whittling down a schedule. This is especially true for international press less interested in the trickle-down from Cannes or Venice — Agniezka Holland’s audience award-winner Green Border, Bertrand Bonello’s The Beast, and Alice Rohrwacher’s La […]
The post Rotterdam 2024 Critic’s Notebook: A Spoiling Rain, The Ballad of Suzanne Césaire, Under a Blue Sun and 102 Narra first appeared on Filmmaker Magazine.
The post Rotterdam 2024 Critic’s Notebook: A Spoiling Rain, The Ballad of Suzanne Césaire, Under a Blue Sun and 102 Narra first appeared on Filmmaker Magazine.
- 2/19/2024
- by Beatrice Loayza
- Filmmaker Magazine-Director Interviews
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