EXCLUSIVE: This year’s Directors’ Fortnight lineup features a familiar tale in We Are What We Are, the American remake of Jorge Michel Grau’s 2010 Directors’ Fortnight selection Somos Lo Que Hay. Ambyr Childers and Julia Garner star in Mickle’s version as sisters forced to …
The VFX industry has seen recent mass migrations to tax-friendly locales overseas. Until now Belgium hasn’t been one of those major runaway destinations. But European film company uMedia has unveiled a new financing deal through its …
Oscilloscope Laboratories acquired U.S. rights to Emanuel Hoss-Desmarais’ Whitewash, starring Thomas Haden Church. The pic world premiered at the Tribeca Film Festival where it won the Best New Narrative Director Award. Oscilloscope will release the film theatrically and across all digital platforms. In the film, Haden Church plays Bruce, a down-on-his-luck and recently unemployed plow operator in a small, snowy Canadian town. When Bruce accidentally kills a man In the midst of an angry rampage with his snowplow, he must deal with the consequences. Whitewash simultaneously explores the internalized guilt and frustration Bruce is harboring, and his external battle with the rugged wintry terrain he is faced with as he attempts to escape his situation.
EXCLUSIVE: The hitman thriller from Filipino filmmaker Erik Matti (Tiktik: The Aswang Chronicles) follows prison inmates tapped to work as assassins for corrupt officials and wardens and is inspired by actual events. Pic debuts in the Directors’ Fortnight section at Cannes this week as one of two Southeast …
Michael Haneke’s Amour today took the Palme d’Or prize for Best Film at the finale to this year’s Cannes Film Festival. A hugely popular win at today’s ceremony as well as its premiere, the intimate drama about an elderly couple …
Specialty Box Office: ‘Cowgirls N’ Angels,’ ‘The Intouchables,’ ‘Moonrise Kingdom,’ ‘Oslo, August 31st’
This weekend’s specialty openers in the U.S. include a pair of Cannes Film Festival offerings. Just over a week since its world premiere as the fest’s opening-night film, Wes Anderson’s romantic-comedy Moonrise Kingdom will bow Stateside. The film has been an initial success since opening in theaters in France on the heels of its premiere there. Cannes 2011 title Oslo, August 31st also joins the specialty fray, hoping to repeat its success overseas in the U.S., as is The Weinstein Company‘s The Intouchables. That film has become one of the largest box office draws in French history and has taken big sums overall abroad. Also this weekend, Samuel Goldwyn Films will forgo the traditional L.A. and New York approach for its theatrical opening of Cowgirls N’ Angels, opting for playdates in the Midwest and South.
Rufus Norris’ Broken, starring Cillian Murphy and Un Certain Regard jury president Tim Roth, is opening Cannes‘ Critics’ Week section this year. A closing-night film has not been announced.
Celebrating its 51st running, the sidebar is coming off of a strong 2011 showcase for rising talent. Jeff Nichols’ Take Shelter took the top Critics’ Week prize in 2011, and this year he is in the official competition with Mud. Also in 2011, Australia’s Justin Kurzel was given a special mention for Snowtown, which went on to win six Australian Film Institute prizes, while Valérie Donzelli’s Declaration Of War opened the section and became France’s entry for the foreign-language Oscar. This year’s Critics’ Week runs May 17-25. Here’s the list of contenders:
Broken, dir: Rufus Norris (UK)
Aquí Y Allá, dir: Antonio Méndez Esparza (Spain-US-Mexico)
Au Galop, dir: Louis-Do de Lencquesaing (France)
Les Voisins De Dieu, dir: Meni Yaesh (Israel-France)
Hors Les Murs, dir: David Lambert (Belgium-Canada-France)
Peddlers, dir: Vasan Bala (India)
Los Salvajes, dir: Alejandro Fadel (Argentina)
Sofia’s Last Ambulance, dir: Ilian Metev (Germany-Croatia-Bulgaria)
Thousands of TV executives from around the world are en route to Cannes for the annual MIPCOM market, which starts on Monday. The great majority of them, who are flying into the nearby Nice airport, were greeted by a group of Pan Am stewardesses — a promotion for the new …
New York, NY (June 14, 2011) — The Cinema Guild announced today the acquisition of U.S. distribution rights to Nuri Bilge Ceylan’s “Once Upon a Time in Anatolia,” co-winner of the Grand Prix at the 2011 Cannes Film Festival. The deal was negotiated by Ryan Krivoshey of The Cinema
Sundance Selects acquired U.S. distribution rights to Valerie Donzelli’s Declaration of War from Wild Bunch. The film premiered at Critics Week in Cannes. It follows a couple named Romeo and Juliette, a child names Adam, his illness and their battle. The film stars Donzelli and Jeremie Elkaim, who co-wrote the …
EXCLUSIVE: I’m told that Sony Pictures is negotiating to acquire U.S. distribution rights to the untitled Kathryn Bigelow-directed drama about Navy SEAL Team 6′s hunt for Osama bin Laden. Mark Boal, Bigelow’s partner on the Oscar-winning The Hurt Locker, is finalizing a script that changes the film from a drama about an unsuccessful attempt to hunt the Al Qaeda leader into a methodical hunt that culminates in his death. The film is being fully financed by Megan Ellison’s Annapurna Pictures. Production will start in the early fall and the pic will be ready for release in 2012.
Deadline pegged the Bigelow-Boal film — formerly titled Killing Bin Laden – as a potentially hot project the night that President Barack Obama interrupted programming to announce that the mastermind of the Sept. 11, 2001 attacks on the World Trade Center had finally been located and killed. It most certainly has worked out that way. The project was far along at this point, and they were talking to actors like Joel Edgerton even before bin Laden was killed. Sony’s Amy Pascal has been aggressive about the film since that night, and the studio and others heard the pitch from Boal right before buyers headed off to the Cannes Film Festival.
In another Twilight Zone-like twist to Lars von Trier’s bizarre Cannes experience, the Iranian Vice Minister of Culture Javad Shamaqdari sent a letter slamming the festival for “fascist behavior” in declaring the Danish Melancholia director persona non grata after his attempts to be funny in declaring himself a Nazi and saying that he sympathized with Hitler. Von Trier hasn’t had many come to his defense since issuing those dopey comments, but it is odd to get a statement of support from the same government that gave harsh prison sentences and banishment from filmmaking to two of its most important directors, Jafar Panahi and Mohammad Rasoulof. Both had new films added to Cannes as a show of solidarity. Of course, von Trier issued another statement, which doesn’t really clear up anything: