#ladjes in waiting | Explore Tumblr posts and blogs

weekendwarriorblog · 5 years ago

Text

Welcome to Awards Season Part 2 – The Movies 2019 (Chapter 1)

Hopefully, you’ve already read Part 1 of this semi-weekly series and already know some of the players when awards season begins in early December. A few of them have already announced their awards for the year.

I was going to use this second installment to talk about the various Oscar categories and what they signify or represent, and how they are selected, but that can clearly wait until January. Instead, I’m going to get into some of the movies being bandied about this awards season, and there seems to be more than ever.

Mind you, this won’t be one of those, “These are my eight to ten picks to get nominated for Best Picture,” since you can keep track of that over at GoldDerby, even if my reasons and analysis aren’t listed. I may do something akin to that closer to January once we get some precursors. (See Part 1.)

In each section, I’m going to list the movies in alphabetical order but I’m also going to give a number to each in terms of its Oscar potential. While I’ll talk a little about some of the factors in play for each movie, I’m going to try to not get too deeply into the performances, since that will be saved for a future installment. I’m also going to leave off the desire to talk about animated films or documentaries much, even though the latter is definitely one of my specialties – the former, not so much.

SUNDANCE FAVES

Even before the Oscar nominations are announced for the previous year, the movie biz kicks into high gear with the movies that will be talked about over the next year with the annual trip to Park City, Utah for the newest independent films, including from many who have already established themselves at Sundances past.

Plenty of Sundance premieres have gone onto get awards (or at least nominations) on Oscar night including Little Miss Sunshine, Precious,Beasts of the Southern Wild, Winter’s Bone (whatever happened to that “Jennifer Lawrence” girl?) and more, but it feels like every year, it gets tougher and tougher to make it through the whole year, especially when movies are released during the summertime.

Clemency (NEON) (5)

It’s almost hard to believe that Chinonye Chukwu’s prison drama, her second movie, premiered all the way back in January, because distributor NEON (who is having a fantastic year!) is waiting until the very tail end of December to release it. The movie stars Alfre Woodard as a prison warden who is trying to juggle her own domestic issues with the impending execution of an inmate, played by Aldis Hodges (who was also excellent in the overlooked Brian Banks). Both performances are solid, having already gotten a few Gotham and Independent Spirit nominations.

Late Night (Amazon) (3)

This Mindy Kaling comedy vehicle, which she wrote and stars with the always wonderful Dame Emma Thompson is a fantastic example of films that come out of Sundance that are based on personal stories but told in an entertaining way. This comedy about Kaling’s character becoming a bit of a diversity hire in the writers’ room for a legendary late night talk show host (played by Thompson) comes from out of Kaling’s time as an intern for Conan O’Brien. It’s a wonderful and very entertaining film, although Amazon hasn’t been supporting its award chances by sending out screeners, maybe since it only made $15.5 million in its early summer theatrical run despite getting a wide release. I really like this movie a lot and in any other year, Kaling’s screenplay would get recognized – it really should have been this year’s The Big Sick*– but at this point, its best bet is a Golden Globe comedy nod for Thompson. (*Remember how everyone thought Holly Hunter would get an Oscar nomination for this that year?)

The Farewell (A24) (8)

Lulu Wang’s family dramedy based on her own true story (or based on a lie, going by the opening title) is easily one of the year’s best films. The movie burst into Sundance with many raving about the performance by Awkwafina and Chinese vet Shuzhen Zhao, who are both wonderful, but I’m not the only person who absolutely loves this movie, which I expect to do decently among critics groups. It also has that personal thing of The Big Sick,but it’s also a movie set mostly in China, mostly in Mandarin, yet it still has found a fairly wide appeal among moviegoers despite only making slightly more than Late Nightin theaters, peaking in less than 900 theaters. Wisely, A24 is giving this another seasonal push with Wang and Awkwafina doing the rounds, which will guarantee awards voters check out those screeners. It’s a wonderful movie with a fantastic script, and hopefully its support at the Gothams and (less so) at the Independent Spirits will help its Oscar chances.

The Report (Amazon) (4)

Frequent Steven Soderbergh collaborator Scott Z Burns’ second feature as a director took on the CIA’s use of torture techniques to get info out of Iraqi detainees, which makes it a pretty serious film. Many people at Sundance were raving about the performances by Adam Driver as Daniel Jones, the man writing the report for years, and Annette Bening as Senator Dianne Feinstein, more than for the overall movie. The Reportjust hit Amazon Prime a few weeks after its so-so theatrical showing. (Actually, Amazon took a cue from Netflix and didn’t REPORT (rimshot) its box office.) I feel like Driver’s performance in Marriage Story(see below) has been taking away from this equally great performance and Bening’s performance while great as always isn’t too groundbreaking. In any other year, Burns’ fantastic screenplay would get attention and maybe the WGA will do so, but it’s playing in a tough adapted screenplay year.

Beyond those four films mentioned above, there are also a lot of strong docs that premiered at Sundance and will go all the way to Oscar night, as well as a number of genre films, some which will become popular favorites but not necessarily be in the awards conversation.

CANNES SHENANIGANS

(Actually, there were no actual shenanigans, but it rhymed, so the subtitle sticks!)

As the summer movie season begins in May, the Cannes Film Festival brings many industry insiders to the beach-side Croisette to see some of the fanciest world premiere galas of the year. I personally have never been but it sure looks like a nice working vacation.

There are quite a few strong festivals in between Sundance and Cannes: Berlin, SXSW and Tribeca being three, but to date, they haven’t proven to be particularly strong for delivering Oscar winners or even nominees. Movies like Olivia Wilde’s Book Smart, which premiered at the middle of the three, has proven popular among younger critics but just didn’t take off at the box office

Cannes is another story, and again, in alphabetical order, this year’s festival presented…

Atlantiques/Atlantics (Netflix) (2)

Mati Diop’s feature narrative debut left Cannes with the Grand Prix award, which got it a lot more attention with its look at a love affair between a construction worker and a 17-year-old promised to another man. This is Senegal’s selection for the International Film category, and it has a good chance of getting into the shortlist and nominations, although probably not into other categories persé. It will be interesting to see if this can win any of the critics’ awards in the foreign language category over Bong Joon-ho’s Parasite. The New York Film Critics Circle (NYFCC) just awarded it as a debut feature, so that’s a start.

The Lighthouse (A24) (3)

There was a lot of buzz out of Cannes for Robert Eggers’ follow-up to his horror-thriller The VVitch, this one a two-hander starring Robert Pattinson and Willem Dafoe as two men taking care of a remote lighthouse where they get stranded as they both start to go insane. (Actually, Dafoe’s character is already halfway there, which might be why his performance is a likely awards contender.) It’s a weird movie that certainly has its fans but it really will need some critical support this week to be taken seriously for anything other than another Dafoe nomination.

Portrait of a Lady on Fire (NEON) (3)

This French drama from Céline Sciamma (Girlhood) about a lesbian love affair between a painter and her subject found a lot of fans at Cannes and subsequent festivals. Many of the film’s fans were upset when France decided to go with Les Misérablesfor its “International Film” selection, and it’s hard to think that this French film will do very well except among critics. The only problem is that it will continually be competing against Parasitein the Foreign Language category, and the best it can do is maybe get a Golden Globe nomination. The New York Film Critics Circlejust awarded it a Cinematography award, so maybe that’s somewhere it might get more attention, but more likely, it’s in the same boat as Atlantics.

A Hidden Life (Fox Searchlight) (4)

Terrence Malick’s latest film debuted at Cannes out of competition, and oddly, it didn’t get nearly as much attention as his previous few films, although it’s amazing how prolific he’s been in the last decade since last being in the awards race in 2011 for The Tree of Life. Not all his movies since then have been great, and he’s made a few forays into documentary, but A Hidden Lifeis a real return to form in terms of dramatic filmmaking. It takes place during World War II when an Austrian farmer refuses to hail allegiance to Hitler and though it’s long at three hours, it certainly is beautiful, and the Academy has frequently gushed over Holocaust films, which this is. It should get some attention for its Cinematography, and we’ll have to see if it might get other awards.

Les Misérables (Amazon) (3)

Ladj Ly’s French police thriller proved that #BlackLivesMatter is not just a United States phenomenon, as it follows a trio of police officers who get involved with the attack on a young boy in the projects and the attempted cover-up. It’s a movie that’s maybe not one that people might think of an “Oscar movie” but France did pick it as its selection in the “International Film” category, and we’ll have to see how much of a push Amazon will give this over its English narrative films. Again, we’ll have to see how things shake out once the Golden Globes announces if it made their own foreign language category.

Once Upon a Time … in Hollywood (Sony) (10)

One of the big Cannes World Premieres and a huge coup for the festival was getting previous winner and jury leader Quentin Tarantino’s ninth film quite a few months before its July theatrical debut by Sony Pictures. Every Tarantino release is a bit event, but this one reunited him with Django Unchained’s Leonardo DiCaprio and Inglourious Basterds’ Brad Pitt, except that this time they were both playing much larger roles. It also brought on Oscar-nominated starlet Margot Robbie as Sharon Tate, and as you can guess, it took place in Hollywood in 1969 revolving around the time of the famous Tate-LaBianca murders by the Charles Manson family. This was another true original from Tarantino that has been well-marketed by Sony to gross $141 million domestically and another $230.9 million overseas. That’s more than Basterdsbut just behind Django, although the film’s Cannes debut vs. Oscar chances shouldn’t be a shock when you realize that both Pulp Fiction and Basterdsdebuted there on their way to the Oscars.

Pain and Glory (Sony Classics) (6)

Pedro Almodovar’s latest film entered the Cannes competition and walked away with a Best Actor award for its star and Almodovar’s frequent leading man Antonio Banderas, who is thought to be in the Oscar race for Lead Actor. (More on him in the next installment.) But the movie itself was such a remarkable comeback for Almodovar who hasn’t been in the Oscar race since 2003’s Talk to Her, although the film’s other star, Penelope Cruz, whose first Oscar nomination was for Almodovar’s 2007 film Volver. There’s always hopes that Almodovar will once again be nominated for his original screenplay (which is excellent) or direction, but those are both crowded fields this year. It’s a shame because this really is among Almodovar’s best films and the NYFCC picking Banderas as their Best Actor gives the actor a nice boost at the start of awards season.

Parasite (NEON) (9)

Korean filmmaker Bong Joon-Ho’s sixth feature film burst into Cannes much like the impoverished family in the movie who wheels and deals their way into the home of a wealthier family. It would walk away with the coveted Palme d’Or prize, and with tons of rave reviews from the critics that have helped the movie make its way to theatrical release in which it’s become the highest grossing import from Korea (movie-wise, anyway). The movie is still sitting at 99% on Rotten Tomatoeswith only 3 negative reviews out of 300, and audiences seem to like it almost as much. The only negative is that it is a foreign film with mainly unknown actors and the Academy has never nominated a Korean film for ANY Oscars EVER… isn’t that crazy? Director Bong’s movie will change that as it’s this year’s Amor, Michael Haneke’s Palme D’Or which was nominated for a number of Oscars, only winning one for Foreign Language film. Parasite is so far ahead of the competition in the “International Film” competition, it’s scary, and it’s begun its run of critics awards by taking the Atlanta Film Critics Society’s top honors.

The Traitor (Sony Pictures Classics) (2)

Marco Bellochio’s crime drama (which I haven’t yet seen) premiered in competition with generally decent reviews, and like many other Cannes premieres, it’s best bet is in the International Film category where it will lose to Parasite. It will be the 80-year-old Bellochio’s submission by his country after a number of well-respected films.

Outside the Festival Circuit

There are quite a few movies released in the summer and early fall that aren’t necessarily considered awards movies, the big one being Marvel Studios’ Avengers: Endgame (Disney), which I’ll probably write more about o6ver at The Beat. Focus Features managed to have the biggest hit of their 16-year-plus career with the movie incarnation of the popular BBC show Downton Abbey from previous Oscar nominee (and Emmy winner) Julian Fellowes, and they’re likely to try to push that into the awards race especially if some of their other offerings (see below) don’t click.

Okay, this is already getting too long. So I’m going to cut it off here and get to the rest of the year in Part 2… yes, there will be a Chapter 2, Part 2. Deal with it.

#Awards SundanceFilmFestival Cannes Movies

0 notes

double-croche1 · 5 years ago

Photo

[PROGRAMMATION] Le Festival du cinéma américain de Deauville a dévoilé sa très belle sélection pour sa 45ème édition qui se déroulera du vendredi 6 au dimanche 15 septembre. Seront notamment projetés : ‘Un jour de pluie à New York’ de Woody Allen (Ouverture) ‘Cuban Network’ d’Olivier Assayas (Clôture - en présence d’Olivier Assayas) ‘Les Misérables’ de Ladj Ly (Prix d’Ornano-Valenti - en présence de l’équipe du film - notre chronique par ici) ‘Une vie cachée’ de Terrence Malick (Première) ‘The Lighthouse’ de Robert Eggers (Compétition - notre chronique par ici) ‘The Climb’ de Michael Angelo Covino (Compétition) ‘Waiting for the Barbarians’ de Ciro Guerra (Première) ‘Seberg’ de Benedict Andrews (Première - en présence de Kristen Stewart) Le reste de la programmation est à découvrir par ici : https://www.festival-deauville.com/ A&B

0 notes

djeurosteve · 5 years ago

Photo

Here with the team waiting for the start. #DJ #EDM #vocalhouse #deephouse #gayDJ #soldoutclothing #n2nbodywearofficial #weho #ladj #gaysitges #gaybarcelona #gaydj #djlife #nightlife #gayspain #djeurosteve #housemusic #bearbar #gaybears #britishgays #gaybar #gayclub #gaydance #seratodj #instagay #gayink #pioneerdj #ranedj #Sitgespride (at Sitges, Barcelona, Spain) https://www.instagram.com/p/Byf17uXp-05/?igshid=t3qv3bq9ffz9

0 notes

efe-es1405-yahoopartner-blog · 6 years ago

Text

Almodóvar, Malick, Jarmusch y Loach, pesos pesados del Festival de Cannes

París, 18 abr (EFE).- Pedro Almodóvar, Terrence Malick, Jim Jarmusch o Ken Loach son algunos de los pesos pesados que competirán en la 72 edición del Festival de Cannes, según la programación oficial desvelada este jueves en París por su delegado general, Thierry Frémaux. Una edición en la que 19 películas competirán por la Palma de Oro y en la que "Dolor y Gloria" será la sexta oportunidad para Almodóvar de hacerse con el premio principal del festival. La película de Almodóvar tendrá una fuerte competencia en títulos como el drama histórico "A Hidden Life", situado en la Segunda Guerra Mundial, de Terrence Malick, que marcará el regreso del director estadounidense ocho años después de haber logrado la Palma de Oro con "The Tree of Life". El trofeo tampoco se le resistió al británico Ken Loach en 2006 con "The wind that strakes the Barley" y en 2016 con "I, Daniel Blake". Ahora competirá con "Sorry, we missed you", la historia de una familia tratando de combatir las deudas que le asedian desde la crisis financiera de 2008. "Muy kenlochiana", en palabras de Frémaux. Entre los francófonos, otros clásicos del festival. Los hermanos belgas Jean-Pierre y Luc Dardenne buscarán su tercera Palma -tras las de "Rosetta" (1999) y "L'enfant" (2005)- con un título social y de actualidad, "Le jeune Ahmed", sobre la radicalización islamista de un joven en la actual Europa. También en este tono "Les Misérables", del maliense Ladj Ly, que pone el foco en la violencia policial y marginación de los jóvenes en la periferia parisina. El canadiense Xavier Dolan, uno de los jóvenes cineastas preferidos por Cannes, participará con una película que dirige y protagoniza, "Matthias et Maxime". El brasileño Kleber Mendonça Filho, autor de "Aquarius", fue seleccionado con "Bacurau", centrada en los oscuros secretos de un grupo de vecinos, que codirige junto a Juliano Dornelles, y que está protagonizada por Sonia Braga y el alemán Udo Kier. A Jarmusch le tocará abrir la competición con "The Dead don't die", una película de zombies protagonizada por un elenco considerable: Adam Driver, Bill Murray, Chloë Sevigny, Tilda Swinton, Steve Buscemi, Selena Gomez y Tom Waits. El filme se estrenará al mismo tiempo en las salas europeas, una exigencia que la organización del festival ha establecido para la obra seleccionada para la apertura, según dijo el presidente, Pierre Lescure, que aclaró que ya hay 400 salas dispuestas a acoger la proyección ese día. La presencia de directoras sigue siendo discreta aunque "in crescendo", con cuatro mujeres en la competición oficial: las francesas Mati Diop ("Atlantique"), Justine Triet, ("Sibyl"), y Céline Sciamma, ("Portrait de la jeune fille en feu"), y la austríaca Jessica Hausner ("Little Joe"), "bellos retratos femeninos", según Lescure. En la sección "Una cierta mirada", la segunda en importancia del festival, entran Annie Silverstein ("Bull"), la canadiense Monia Chokri ("La femme de mon frère") o Zabou Breitman y Eléa Gobbé-Mévellec ("Les Hirondelles de Kaboul"), adaptación del libro homónimo de Yasmina Khadra . La presencia española se limita a Almodóvar en la competición principal y a Oliver Laxe ("O que arde", sobre los incendios en Galicia) y Albert Serra ("Liberté", sobre la aristocracia en los años de la Revolución Francesa) en Una cierta mirada. Mientras la latinoamericana se completa con la brasileña "Vida invisivel", de Karim Aïnouz, en Una cierta mirada, y la argentina "Que sea ley", de Juan Solanas, en sesión especial. Además el mexicano Alfonso Cuarón asistirá como presentador de la proyección de una restaurada "The Shining", el clásico de Stanley Kubrick protagonizado por Jack Nicholson, y su amigo y compatriota Alejandro González Iñárritu presidirá el jurado de la competición oficial. Fuera de competición habrá hueco para estrellas ajenas al cine, como Elton John, que acudirá a la ciudad mediterránea para la presentación de una película en su honor, "Rocketman". Y los organizadores no aclararon si el futbolista argentino Diego Maradona presenciará el documental que lleva su nombre, realizado por el británico Asif Kapadia. Cincuenta y tres años después del estreno de "Un hombre y una mujer", dos instituciones del cine, Anouk Aimée y Jean-Louis Trintignant, regresan en una continuación con "Les Plus belles années d'une vie", de Claude Lelouch, también fuera de competición. El danés Nicolas Winding Refn, con una serie televisiva o veteranos como Abel Ferrara y Werner Herzog también se han colado en una programación a la que aún faltan algunos nombres por unirse, pero no será el de Quentin Tarantino, que no ha llegado a tiempo con su "Once Upon a Time in Hollywood" para participar en un festival que se celebrará del 14 al 25 de mayo. De nuevo, ninguna creación de Netflix entró en el certamen, que sigue exigiendo el estreno en salas para la clasificación final. Pese a esto, Frémaux indicó que las relaciones con la plataforma son buenas pero que el requisito sigue siendo ineludible. Cannes rendirá homenaje en esta ocasión al actor Alain Delon, que recibirá allí la Palma de Honor por toda su carrera, y a la recién fallecida Agnès Varda, icono de la Nouvelle Vague, que protagoniza este año el cartel, un gesto con el que la organización parece querer sanar también las críticas por la falta de igualdad. María D. Valderrama París, 18 abr (EFE).- El filme sobre Elton John, "Rocketman", atraerá al propio cantante al Festival de Cannes, que en esta 72 edición mostrará también un documental sobre Diego Maradona o una copia restaurada de "El resplandor", presentada por el mexicano Alfonso Cuarón. La organización del certamen anunció este jueves la selección oficial del festival, que se celebra en Cannes del 14 al 25 de mayo, en la que competirán cineastas como Pedro Almodóvar, Ken Loach o Terrence Mallick, y que cuenta con varias curiosidades dignas de mención: - Quentin Tarantino se ha quedado fuera de la selección, pese a ser uno de los más esperados, pues su última película "Once Upon a Time in Hollywood", una comedia sobre un actor de western venido a menos, con Brad Pitt y Leonardo Di Caprio, no está aún terminada, según explicó el delegado general de Cannes, Thierry Frémaux. Frémaux dijo que el deseo de Tarantino es que su película sea presentada en 35 milímetros, lo que está haciendo que el proceso de post producción sea más lento. "Le deseo que haga una buena película, que es lo que cuenta más por un artista como él", apuntó. - Sí estará en Cannes el cantante Elton John, que acudirá en el marco de la proyección de "Rocketman", filme sobre su vida protagonizado por Taron Egerton y Bryce Dallas Howard, dirigido por Dexter Fletcher y presentado fuera de competición. "Esconderemos un piano por si quiere regalarnos con su inmenso talento", dijo Frémaux. - Y estará pero no se le verá, el siempre esquivo Terrence Malick. Ocho años después de ganar la Palma de Oro del festival por "El árbol de la vida", regresa con "A Hidden Life", una historia ambientada en la Segunda Guerra Mundial y protagonizada por Matthias Schoenaerts y Michael Nyqvist. "No me pregunten si estará en Cannes", señaló Frémaux, antes de precisar, "estará pero vosotros, los periodistas, no lo veréis". - Fuera de competición llegará "Diego Maradona", un documental sobre el gran futbolista argentino, dirigido por Asif Kapadia, que ya se ha ocupado de otras figuras como Ayrton Senna o Any Winehouse. Será el segundo documental sobre Maradona que se presente en Cannes. En 2008 el astro argentino estuvo presente en el festival con la película que realizó sobre su figura Emir Kusturica. - El director mexicano Alfonso Cuarón no pudo participar el año pasado en Cannes porque "Roma" era una producción de Netflix destinada a las televisiones, lo que no estaba en consonancia con las normas del festival francés. Este año sí viajará a Cannes, para presentar una copia restaurada del clásico de Stanley Kubrick "El resplandor" (1980). - La cuota televisiva la pondrá Nicolas Winding Refren con su serie "Too old to die young - north of hollywood, west of hell", de la que se emitirán los capítulos 4 y 5, fuera de competición. Además el siempre polémico realizador danés participará en una clase magistral en Cannes en la que explicará las diferencias de hacer cine para la gran pantalla o series para la televisión, asunto sobre el que "tiene cosas apasionantes que decir", según Frémaux. - Se podrá ver, en Una cierta mirada, una nueva versión de un gran clásico francés, la vida de Juana de Arco. Bruno Dumont continúa con la historia de la heroína, cuya infancia narró en "Jeannette". De nuevo protagonizada por Lise Leplat Prudhomme. - Y Canarias estará presente en el festival a través de "La Gomera", un proyecto del rumano Corneliu Porumboiu que sigue a un policía que viaja a esa isla para aprender El Silbo (lenguaje silbado que es Patrimonio Cultural Inmaterial de la Unesco). París, 18 abr (EFE).- La 72 edición del Festival de Cannes se celebrará entre el 14 y el 25 de mayo y su delegado general, Thierry Frémaux, anunció hoy la programación oficial, a falta de algunos títulos. Estas son las películas que participarán: COMPETICIÓN OFICIAL: "The Dead don't die", de Jim Jarmusch (apertura). "Dolor y Gloria", de Pedro Almodóvar. "Il traditore", de Marco Bellochio. "Nan fang che zhan de ju hui" ("The wild goose lake"), de Diao Yinan. "Gisaengchung" ("Parasite"), de Bong Joon Ho. "Le jeune ahmed" ("Young ahmed"), de Jean-Pierre y Luc Dardenne. "Roubaix, une lumière", de Arnaud Desplechin. "Atlantique", de Mati Diop. "Matthias et maxime", de Xavier Dolan. "Little joe", de Jessica Hausner. "Sorry we missed you", de Ken Loach. "Les misérables", de Ladj Ly. "A hidden life", de Terrence Malick. "Bacurau", de Kleber Mendonça Filho y Juliano Dornelles. "La Gomera", de Corneliu Porumboiu. "Frankie", de Ira Sachs. "Portrait de la jeune fille en feu", de Céline Sciamma. "It must be heaven", de Elia Suleiman. "Sibyl", de Justine Triet. FUERA DE COMPETICIÓN: "Les plus belles années d'une vie", de Claude Lelouch. "Rocketman", de Dexter Fletcher. "Too old to die young - north of hollywood, west of hell", de Nicolas Winding Refn. "Diego Maradona", de Asif Kapadia. "La belle époque", de Nicolas Bedos. SESIONES DE MEDIANOCHE: "The gangster, the cop, the devil", de Lee Won-Tae. SESIONES ESPECIALES: "For sama", de Waad al Kateab y Edward Watts. "Family romance, llc", de Werner Herzog. "Tommaso", de Abel Ferrara. "Share", de Pippa Bianco. "Être vivant et le savoir", de Alain Cavalier. "Que sea ley", de Juan Solanas. UNA CIERTA MIRADA: "Vida invisivel", de Karim Aïnouz. "Dylda" ("Beanpole"), de Kantemir balagov. "Les hirondelles de kaboul", de Zabou Breitman y Eléa Gobé Mévellec. "La femme de mon frère", de Monia Chokri. "The climb", de Michael Covino. "Jeanne", de Bruno Dumont. "O que arde", de Oliver Laxe. "Chambre 212", de Christophe Honoré. "Port authority", de Danielle Lessovitz. "Papicha", de Mounia Meddour. "Adam", de Maryam Touzani. "Zhuo ren mi mi", de Mmidi Z. "Liberté", de Albert Serra. "Bull", de Annie Silverstein. "Liu yu tian" ("Summer of changsha"), de Zu Feng. "Evge", de Nariman Aliev. El director de cine español Pedro Almodóvar acude a la presentación de la película Ash Is Purest White, durante la 71 edición del Festival de Cannes, Francia, en mayo del año pasado. EFE/Archivo El director Pedro Almodóvar (c. de pie), los actores Penélope Cruz (5d. de pie) y Antonio Banderas (4d. de pie), y el resto del equipo, posan a su llegada a la premier de la película "Dolor y Gloria", del cineasta manchego Almodóvar, en el cine Capitol de Madrid. EFE/Archivo

#_revsp:efe.es #_uuid:f327f150-2c09-398b-ac54-2b587e555b8f #_category:yct:001000076 #_lmsid:a077000000Kgol7AAB

0 notes

chicagoindiecritics · 5 years ago

Text

New from Kevin Wozniak on Kevflix: What’s Streaming This Month? – April

As we all sit at home practicing social distancing and self-quarantining because of COVID-19, streaming has become one of the main ways that we keep ourselves busy while we are cooped up at home. Luckily, we have a number of streaming services to choose from, all of which are coming in really hot with the content this month. Netflix is coming with especially good content in April, but Amazon, Hulu, and Disney+ are all adding some great stuff for us to watch. Here are my picks for the best movies coming to streaming in April.

NETFLIX

Full list of everything coming to Netflix in April can be found here

THE GOOD, THE BAD, AND THE UGLY (Sergio Leone, 1966)

Sergio Leon’s classic is essential viewing for film lovers and Western enthusiasts.

HAIL, CAESAR! (Joel and Ethan Coen, 2016)

A hilarious Coen Brother gem featuring a terrific ensemble cast.

THE KILLING OF A SCARED DEER (Yorgos Lanthimos, 2017)

A sick, twisted, disturbing film from the great Yorgos Lanthimos.

THE LETHAL WEAPON SERIES (Richard Donner, 1987/1989/1992/1998)

Led by the dynamic duo of Mel Gibson and Danny Glover, the Lethal Weapon series is one of the great action franchises ever made.

THE MATRIX TRILOGY (Lilly and Lana Wachowski, 1999/2003)

Though the sequels don’t match the greatness of the first one (a tough task when the first one changed cinema forever), nobody makes movies like the Wachowski’s and The Matrix Trilogy is unlike anything we’ve ever seen before.

MOLLY’S GAME (Aaron Sorkin, 2017)

Aaron Sorkin’s directorial debut features masterful performances by Jessica Chastain, Idris Elba, and Michael Cera and Sorkin’s usual snappy dialog.

ROAD TO PERDITION (Sam Mendes, 2002)

The best movie of Sam Mendes’ career is a moody gangster flick featuring that last great on-screen performance from Paul Newman and Tom Hanks like you’ve never seen him before.

THE SOCIAL NETWORK (David Fincher, 2010)

My personal pick for the best movie of the 2010’s, David Fincher’s masterpiece has aged like fine wine. Everything from the performances to Fincher’s direction, to Aaron Sorkin’s ingenious, crackling script are perfect. This is one of the greatest movies I have ever seen.

SOUL PLANE (Jessy Terrero, 2004)

It’s complete nonsense and filled with shenanigans and crude humor, but I love this movie even though I know I shouldn’t.

TAXI DRIVER (Martin Scorsese, 1976)

This Martin Scorsese masterpiece proved why he and Robert DeNiro are one of cinema’s greatest director/actor duos.

AMAZON PRIME

Full list of everything coming to Amazon Prime in April can be found here

HOTEL ARTEMIS (Drew Pearce, 2018)

A fun little action thriller that would play as a perfect double feature with Bad Times at the El Royale.

I AM LEGEND (Francis Lawrence, 2007)

Depending your mood, I Am Legend, a movie about the last man alive after a global pandemic, is either the best movie to watch during this COVID-19 virus or the worst. It is, however, a really great film and feature the best performance of Will Smith’s career.

JAMES BOND [Connery, Lazenby, Moore, Dalton, & Brosnan] (Various Directors, Various Years)

About a year and a half ago, I made it my mission to watch all the James Bond movies. Why? Partly because I’m a maniac, partly because I think it’s essential cinema and they had been a blindspot for me. I succeeded in my mission and overall, I really like these movies. Some get rough, but some are quite great. Amazon is putting 21 of the 25 James Bond films on streaming (the only ones not streaming are the Craig-led Bonds), some of them even with 4k resolution which is exciting. Here’s a quick guide to these movies (I’ll dive more into this on a later list):

CONNERY: Best Film – From Russia With Love

LAZENBY: Only made one film, On Her Majesty’s Secret Service, and it’s one of the most unique and best of the franchise.

MOORE: Best Film – A View to a Kill (but his movies get really rough).

DALTON: Best Film – License to Kill

BROSNAN: Best Film – Goldeneye

These are cool movies and with all the time we have on our hands, give them a whirl.

LES MISÉRABLES (Ladj Ly, 2019)

No, this isn’t the musical about Jean Veljean. Ladj Ly’s 2019 Les Misérables is a captivating crime drama about police tensions with the people of the impoverished suburb of Montfermeil.

THE LIGHTHOUSE (Robert Eggers, 2019)

Like I Am Legend, The Lighthouse could be the best or worst movie to watch during this COVID-19 social distancing. Robert Eggers second feature looks at two lighthouse keepers (Robert Pattinson and Willem Dafoe, both outstanding) as they try to maintain their sanity while living on a remote and mysterious New England island in the 1890s. Gorgeously shot in black and white, this is a delirious look at madness and one I can’t wait to revisit.

HULU

Full list of everything coming to Hulu in April can be found here

BEND IT LIKE BECKHAM (Gurinder Chadha, 2003)

An inspiring sports film with a lovely pair of performances from Kiera Knightly and Parminder Nagra.

BLAZING SADDLES (Mel Brooks, 1974)

Blazing Saddles is one of the greatest comedies ever made and if you haven’t seen it, you need to change that immediately.

KILL BILL VOL. 1 & VOL. 2 (Quentin Tarantino, 2003/2004)

Quentin Tarantino’s two-part kung-fu western is one of the director’s great achievements and features a career turn from Uma Thurman.

PARASITE (Bong Joon-Ho, 2019)

In a movie year that gave us finales to the Avengers and Star Wars, Bong Joon-Ho’s masterpiece ended up being THE movie of 2019. The 2019 Best Picture winner is a movie unlike anything you’ve ever seen before and one you will want to watch again as soon as it is over.

SPIDER-MAN (Sam Raimi, 2002)

The game-changing comic book film that ushered in the modern comic book movie era, Sam Raimi’s Spider-Man is an absolute blast, filled with exciting action sequences, a great story, and terrific performances, including Tobey Maguire as the best Spider-Man to ever grace the silver screen.

DISNEY+

Full list of everything coming to Disney+ in April can be found here

NATIONAL TREASURE (Jon Turteltaub, 2004)

The National Treasure movies are a lot of fun and play like B-grade Indian Jones films for U.S. history buffs. But really, the greatness of this movie is Nicholas Cage and his uttering of his now-iconic line, “I’m gonna steal the Declaration of Independence.” Just incredible.

ONWARD (Dan Scanlon, 2020)

Pixar’s latest film hits streaming early thanks to COVID-19 and it’s a film that both kids and adults will enjoy. It’s a fun, exciting, beautifully animated film with nice themes and a good emotional punch at the end. It’s Pixar 101 and it’s fun stuff (full review here).

THE STRAIGHT STORY (David Lynch, 1999)

Did you know that director David Lynch, the insane mastermind behind Eraserhead, Blue Velvet, and Twin Peaks, once made a G-rated Disney movie about a man who drives a tractor across the country to mend his relationship with his brother? Well he did and it’s a lovely movie that you call can watch in April.

Follow Kevflix on Twitter and Instagram, @kevflix, and on Facebook by searching Kevflix.

The post What’s Streaming This Month? – April appeared first on Kevflix.

from Kevflix https://ift.tt/2USU7XQ via IFTTT

from WordPress https://ift.tt/2QXGoh9 via IFTTT

#IFTTT #WordPress #CIFCC #film critics #movies #film #Chicago

0 notes

biofunmy · 5 years ago

Text

Leonardo DiCaprio, Taika Waititi react to Oscar nominations

LOS ANGELES — Reactions from some of the nominees for the Academy Awards:

———

“Ultimately, I’ve been able to be fortunate enough to get to work with some pretty great filmmakers. That’s always been the driving force with me. First, of course, the story and character, from an actor’s perspective. I feel like we see films through the eyes of the director. The director’s medium. I’ve been able to work with some amazing directors. Quentin is in the lineage of one of the best of our times. It’s amazing to be a part of this film that’s a celebration of our actors and a celebration of the countless people behind the scenes,” — Leonardo DiCaprio, nominated for best actor for his role in “Once Upon a Time … in Hollywood,” which was nominated in just about every category including best film, directing and supporting actor and screenplay.

———

“It makes me feel very, very, very young.” – Antonio Banderas said in an interview about being a first-time nominee at age 59. He earned a best actor nomination for his role in “Pain and Glory.”

———

“I think they’re probably more interested in me taking them to the park with their scooters, or making a fort, or playing in a teepee. I’d be worried if my 4-year-old was thinking, ‘What are we going to do about these Nazis?” – “Jojo Rabbit” director Taika Waititi, on whether his daughters are old enough to be aware of his film on intolerance in Hitler’s Germany and its Oscar nominations.

———

“We never thought we would be in the awards conversation. This is so meaningful because this nomination comes during such a strong year of writing. It’s surreal.” – Rian Johnson, director of “Knives Out,” which was nominated for best original screenplay, said in an interview.

———

“I didn’t expect to be quite as emotional as I was when I heard the news. To be acknowledged by your peers is just the best thing. I am so grateful to them. I am thrilled too for my fellow pope Anthony Hopkins. We had such a good time together. We both thrived on Anthony McCarten’s superb script and the inspirational direction of Fernando Meirelles. Huge thanks for the support of Netflix and Tracey Seaward and everyone who worked on the production of this very special film,” — Jonathan Pryce, nominated for best actor for his role in “The Two Popes,” said in a statement.

———

“This movie was a labour of love for many people — myself included — so to see it recognized in this way is very moving for all of us. I would like to thank the Academy on behalf of my fellow producers, and on behalf of every single person who put their heart and soul into this film. Thank you,” — Sam Mendes, director of “1917,” earning three Oscar nominations for best picture, director and original screenplay, said in a statement.

———

“I’m just so thrilled that our Little Women has been recognized by the Academy. Greta made something so special that I’m just thankful to have been a part of, let alone nominated for. Thank you to my academy peers for loving and appreciating this film that is so close to my heart,” — Saoirse Ronan, nominated for best actress for her role in “Little Women,” said in a statement.

———

“You gotta believe,” – director Matthew A. Cherry, whose “Hair Love” was nominated for best animated short film, said on Twitter. The film delves into a story about an African-American father who learns how to style his daughter’s hair for the first time.

———

“Making BOMBSHELL is one of the great highlights of my career. I wish that the story in this film never needed to be told, but I am so proud of the entire team on this film for telling it with such grace, sensitivity, and humanity. Thank you to my fellow producers, our incredible director Jay Roach and our brilliant screenwriter Charles Randolph, and a multi-talented group of actors and artists who gave 100% of themselves and their craft in making this film. I feel really lucky and blessed to do what I do and work with the people I get to work with, and I am ever thankful to the Academy,” – Charlize Theron, nominated for best actress in a leading role in “Bombshell,” said in a statement. ———

“I hope our Little Women does for another generation of girls and women what it did for me: lights a fire to write your book, make your movie, sing your verse. From all of us Little Women and Men, thank you to the Academy,” – Greta Gerwig, director of “Little Women” that was nominated for best adapted screenplay, said in a statement.

———

“To receive two Oscar nominations for a film paying tribute to Harriet Tubman, a person whose heart and spirit are the embodiment of courage, makes this morning’s news beyond anything I could have ever imagined. This is more than a dream come true. When I got the opportunity to play this incredible woman, I felt truly honored that Kasi and our producers saw fit to have me play the part; being asked to co-write and perform the song in the film was the icing on an already wonderful cake. I continue to feel overwhelmed with gratitude today to the Academy for recognizing my performance and our song ‘Stand Up’.” — Cynthia Erivo, who was nominated for best actress in a leading role and best original song “Stand Up” for the film “Harriet,” said in a statement.

——

“The biggest thing was telling this full story and bringing Woody’s story to a close. That’s what stands out the most. We concluded Woody’s arc. This was a character that a lot of people grew up with. That’s why this film stood out.” – “Toy Story 4” director Josh Cooley said in an interview. The film is nominated for best animated feature and original song.

———

“I would like to say MERCI to the Academy. I always dreamt to say this sentence one day! Thank you to all of you who voted for international movies and for France and for us. We are all MISERABLES in the sense that we are all immigrants. But we can all do the revolution, me I am doing it with my camera. I believe in the power of cinema as a tool to challenge the politics and even sometimes to inspire revolution and above all bring real lasting changes. Walt Disney had a saying: ‘All our dreams can come true . . . if we have the courage to pursue them.’ We had a dream and now it’s time to make it true. THE MISERABLES need you, the world needs you to continue to have dreams … that’s also what we call the magic of cinema! Be ready THE MISERABLES are coming to Hollywood,” — director/co-writer Ladj Ly of “Les Misérables,” nominated for best international feature film, said in a statement.

———

“I stayed up literally all night waiting for the nominations. Some people say they don’t wake up for them. I don’t believe them. I had friends over, we had a sleepover party, we had pizza and hung out, it was so much fun. It doesn’t get old, I assure you.” — Diane Warren, nominated for the 11th time for best original song.

Sahred From Source link Entertainment

from WordPress http://bit.ly/2Tl9Lfn via IFTTT

#IFTTT #WordPress

0 notes

elreporterodigital · 6 years ago

Text

Hollywood llega a Cannes con Tarantino en el centro de la escena

Cannes recibirá un poco de ayuda de Hollywood para iluminar su cartel de este año con el regreso de Quentin Tarantino y de grandes estrellas del cine, estableciendo el tono de un festival que busca mantener su corona como la mejor vidriera mundial. La inclusión a último momento de la nueva película de Tarantino, que el director de "Pulp Fiction" se apuró a terminar de editar a tiempo, completa una reunión de veteranos de Cannes que se enfrenta a un grupo de jóvenes recién llegados. Tras una notable escasez de películas estadounidenses el año pasado en Cannes, "Once Upon A Time ... In Hollywood", el tributo de Tarantino a la industria del cine protagonizado por Brad Pitt, Margot Robbie y Leonardo DiCaprio, sumará una dosis de glamour a la alfombra roja en la Riviera francesa durante las próximas dos semanas. "(Tarantino) es uno de los directores más grandes de su generación", dijo el director del festival Thierry Fremaux en una conferencia de prensa el lunes, antes de que comiencen las proyecciones de películas el 14 de mayo. "La presencia que él aporta en términos de impacto y arte es un elemento clave de una selección como la de este año", agregó. Otras películas destacadas incluyen el filme de zombies de Jim Jarmusch "The Dead Don't Die", con un elenco que incluye a figuras que van desde Bill Murray y Tilda Swinton hasta los cantantes Iggy Pop, Selena Gómez y Tom Waits. Cannes se ha esforzado por encontrar su lugar en un universo cinematográfico en constante cambio, cada vez más dominado por gigantes del streaming como Netflix y la competencia con otros grandes festivales como Venecia, en Italia. Aunque se enorgullece de exhibir películas menos comerciales y de arrojar luz sobre los recién llegados, Cannes también está presionado por seguir siendo relevante. "Este año realmente han mejorado su juego", dijo el crítico del Hollywood Reporter Scott Roxborough a Reuters. "La noche de apertura tendrá a un cineasta independiente legendario, como Jarmusch, y la película de Tarantino acaba de terminarse y todos están desesperados por verla", agregó. El estreno de la película biográfica de Elton John "Rocketman", protagonizada por Taron Egerton, también aportará energía, dijo Roxborough. Se espera que el músico se presente cuando el filme, que se exhibe fuera de la competencia por la Palma de Oro, se estrene el 16 de mayo. Otros realizadores destacados que regresan a Cannes incluyen al británico Ken Loach, al estadounidense Terrence Mallick y al español Pedro Almodóvar, quienes enfrentarán a varios recién llegados en la selección principal. El francés Ladj Ly presentará su ópera prima "Les Miserables", ambientada en los suburbios de París, mientras que la austríaca Jessica Hausner presenta "Little Joe", sobre una planta que cobra vida propia, su primer filme en inglés. Las películas de Netflix volverán a estar ausentes en Cannes, pese a que Venecia por ejemplo permitió la exhibición de "Roma", el filme que el mexicano Alfonso Cuarón produjo y por el cual ganó un Oscar como mejor director. Pero se espera que una disputa por las reglas de la competencia domine las discusiones detrás de la escena. Cannes dictamina que las películas no pueden transmitirse por streaming durante los tres años posteriores al estreno en cine. Cannes también se está adaptando a una nueva era de escrutinio sobre la falta de mujeres en el cine. El jurado del festival -más allá de su presidente, que es el mexicano Alejandro González Iñárritu-, está integrado por cuatro mujeres y cuatro hombres por primera vez en su historia. from Blogger http://bit.ly/30iwqu7 via IFTTT

#elReporteroDigital.com

0 notes