The performances in Maria Sødahl’s stunning piece of auto-fiction are superb. Oscar-shortlisted Hope (Håp) hopes to become the sixth film from Norway (joining Arne Skouen’s Nine Lives; Nils Gaup’s Pathfinder; Berit Nesheim’s The Other Side of Sunday; Petter Næss’s Elling; Joachim Rønning and Espen Sandberg’s Kon-Tiki) to be nominated by the Academy of Motion Picture Arts and Sciences in what is now called Best International Feature Film. Nicole Kidman recently bought the rights for Hope to star in a series adaptation of the director’s story.
Anja (Andrea Bræin Hovig) returning home to Oslo from directing a successful stage production abroad, is greeted by her youngest child, 10-year-old Isak (Daniel Storm Forthun Sandbye), on the staircase of their building. He is wearing a pig...
Anja (Andrea Bræin Hovig) returning home to Oslo from directing a successful stage production abroad, is greeted by her youngest child, 10-year-old Isak (Daniel Storm Forthun Sandbye), on the staircase of their building. He is wearing a pig...
- 3/1/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Nadine Labaki, Where Do We Go Now? Today it was announced that Patty Jenkins, whose Monster earned Charlize Theron a Best Actress Oscar in early 2004, will be directing Thor 2. Officially, Perkins is the first woman director at the helm of a big-budget, Hollywood superhero movie. Below you'll find ten movies directed by female filmmakers that are among the 63 contenders for nominations for the 2012 Academy Awards' Best Foreign Language Film category. Seven of those hail from Europe; one is from the Americas, one from East Asia, and one from West Asia (or the Middle East). They are: the Dominican Republic's Leticia Tonos for Love Child, France's Valérie Donzelli for the semi-autobiographical Declaration of War, Greece's Athina Rachel Tsangari for Attenberg, Hong Kong's Ann Hui for A Simple Life, and Ireland's Juanita Wilson for As If I Am Not There. Also: Lebanon's Nadine Labaki for Toronto Film Festival Audience Award winner Where Do We Go Now?...
- 10/14/2011
- by Andre Soares
- Alt Film Guide
THE BEAUTICIAN AND THE BEAST
Paramount
Fran Drescher tries the big screen on for size with "The Beautician and the Beast", and while the likable comedian is certainly up to the challenge (having tested the waters with Robin Williams in "Jack" and "Cadillac Man") the material proves to be less than form-fitting.
Directed by Ken Kwapis, who previously guided "Seinfeld"'s Jason Alexander through his features paces with the ill-fated and similarly thin "Dunston Checks In", the fish-out-of-water story about an ambitious beautician who leaves Queens behind for a gig tutoring the children of a stern, Eastern European dictator (Timothy Dalton), never really clicks into gear despite obvious similarities to Drescher's hit TV series (HR 2/3).
Michael Rechtshaffen
OTHER SIDE OF SUNDAY
NRK Drama
An audience favorite at the recent Nortel Palm Springs International Film Festival, Berit Nesheim's excellent coming-of-age drama about a smart, rebellious girl is the official Norwegian entry for the foreign language Academy Awards competition.
Set in a rural town in 1959, "The Other Side of Sunday" is based on a novel by Reidun Nordtvedt and takes us inside the irreverent head of pretty Maria (newcomer Marie Theisen), daughter of the neighborhood priest (Bjorn Sundquist). He is stern, cold and humorless. No piano-playing Sunday. Women are not allowed to wear earrings or makeup. Director Nesheim is both restrained and playful in her direction of the potentially lurid story line. The filmmakers superbly evoke the oppressive but energetic milieu (HR 1/29).
David Hunter
SHADOW CONSPIRACY
Buena Vista
A Washington Boy Wonder who has to dangle from buildings, swim through sewers and dodge subway trains, Charlie Sheen's character in "Shadow Conspiracy" is another case of a man who knows too much. However, director George P. Cosmatos' thriller is a derivative potboiler that pales next to such genre classics as "Three Days of the Condor" and "North by Northwest".
Snippets of dialogue from Orson Welles' "Touch of Evil" are heard in one scene, and the filmmakers clearly invite comparisons to other serious films about corruption, betrayal and deadly conspiracies (HR 1/31-2/2).
David Hunter
MEET WALLY SPARKS
Trimark
He's lewd, crude and rude, and he's got viewers glued to the tube. Meet Rodney Dangerfield as a trash TV icon, beloved by the masses but a bane to sponsors and his bosses. Fights, nudity and bad taste abound on his show, but this Trimark release doesn't capitalize well on the sleazy milieu.
With only Dangerfield's waning appeal to recommend it, first-time feature director Peter Baldwin's unremarkable comedy is not salvaged by the few genuinely hilarious lines and routines. "Meet Wally Sparks" is notable for the many cameos and bit players -- from Burt Reynolds to Michael Bolton to Tim Allen -- who appear as backup to 75-year-old Dangerfield, playing his familiar character, a goofy, randy, blunt jerk who drinks a lot and causes much unintentional destruction of property.
It's hard to image a film with more penis jokes and salacious banter, but the pace is slowed down by subplots that go nowhere and more than a few limp gags (HR 2/3).
David Hunter
Other reviews
Other films reviewed last week include: "Pretty Villages, Pretty Flames" (HR 1/31-2/2) and "Cosi" (2/3).
Paramount
Fran Drescher tries the big screen on for size with "The Beautician and the Beast", and while the likable comedian is certainly up to the challenge (having tested the waters with Robin Williams in "Jack" and "Cadillac Man") the material proves to be less than form-fitting.
Directed by Ken Kwapis, who previously guided "Seinfeld"'s Jason Alexander through his features paces with the ill-fated and similarly thin "Dunston Checks In", the fish-out-of-water story about an ambitious beautician who leaves Queens behind for a gig tutoring the children of a stern, Eastern European dictator (Timothy Dalton), never really clicks into gear despite obvious similarities to Drescher's hit TV series (HR 2/3).
Michael Rechtshaffen
OTHER SIDE OF SUNDAY
NRK Drama
An audience favorite at the recent Nortel Palm Springs International Film Festival, Berit Nesheim's excellent coming-of-age drama about a smart, rebellious girl is the official Norwegian entry for the foreign language Academy Awards competition.
Set in a rural town in 1959, "The Other Side of Sunday" is based on a novel by Reidun Nordtvedt and takes us inside the irreverent head of pretty Maria (newcomer Marie Theisen), daughter of the neighborhood priest (Bjorn Sundquist). He is stern, cold and humorless. No piano-playing Sunday. Women are not allowed to wear earrings or makeup. Director Nesheim is both restrained and playful in her direction of the potentially lurid story line. The filmmakers superbly evoke the oppressive but energetic milieu (HR 1/29).
David Hunter
SHADOW CONSPIRACY
Buena Vista
A Washington Boy Wonder who has to dangle from buildings, swim through sewers and dodge subway trains, Charlie Sheen's character in "Shadow Conspiracy" is another case of a man who knows too much. However, director George P. Cosmatos' thriller is a derivative potboiler that pales next to such genre classics as "Three Days of the Condor" and "North by Northwest".
Snippets of dialogue from Orson Welles' "Touch of Evil" are heard in one scene, and the filmmakers clearly invite comparisons to other serious films about corruption, betrayal and deadly conspiracies (HR 1/31-2/2).
David Hunter
MEET WALLY SPARKS
Trimark
He's lewd, crude and rude, and he's got viewers glued to the tube. Meet Rodney Dangerfield as a trash TV icon, beloved by the masses but a bane to sponsors and his bosses. Fights, nudity and bad taste abound on his show, but this Trimark release doesn't capitalize well on the sleazy milieu.
With only Dangerfield's waning appeal to recommend it, first-time feature director Peter Baldwin's unremarkable comedy is not salvaged by the few genuinely hilarious lines and routines. "Meet Wally Sparks" is notable for the many cameos and bit players -- from Burt Reynolds to Michael Bolton to Tim Allen -- who appear as backup to 75-year-old Dangerfield, playing his familiar character, a goofy, randy, blunt jerk who drinks a lot and causes much unintentional destruction of property.
It's hard to image a film with more penis jokes and salacious banter, but the pace is slowed down by subplots that go nowhere and more than a few limp gags (HR 2/3).
David Hunter
Other reviews
Other films reviewed last week include: "Pretty Villages, Pretty Flames" (HR 1/31-2/2) and "Cosi" (2/3).
An audience favorite at the recent Nortel Palm Springs International Film Festival, Berit Nesheim's excellent coming-of-age drama about a smart, rebellious girl is the official Norwegian entry for the foreign language Academy Awards competition.
Set in a rural town in 1959, "The Other Side of Sunday" is based on a novel by Reidun Nordtvedt and takes us inside the irreverent head of pretty Maria (newcomer Marie Theisen), daughter of the neighborhood priest (Bjorn Sundquist). He is stern, cold and humorless. No piano-playing Sunday. Women are not allowed to wear earrings or makeup. Unrelentingly patriarchal, he makes all the decisions.
Maria's thoughts stray wildly as she attends church and listens to her father. She admires the breasts of another woman and wants her own to "point upward." Alas, it's the Bible, the Song of Solomon in particular, that leads Maria away from the strict lifestyle of her family and into a friendship with the independent church organist, Mrs. Tunheim (Hildegunn Riise).
From bathing naked in the river to making jewelry from milk-bottle tops, the lead's wiser-but-sadder friend helps Maria build confidence and broaden her perspective. It's not long before she's courageously mixing with wilder contemporaries and even helps dissuade a friend from becoming a "church hag" or too-trusting Christian wife such as Maria's mother.
When Maria finally stands up to her father, the film and 16-year-old Theisen have led one through familiar but well-executed episodes of sensual and spiritual awakening, along with a few setbacks and complications. A climactic tragedy leaves a sour aftertaste, but overall "The Other Side of Sunday" is satisfying and rich in details and humor.
Nesheim ("Frida -- Straight From the Heart") is both restrained and playful in her direction of the potentially lurid story line. The filmmakers superbly evoke the oppressive but energetic milieu, while Theisen and the fine cast draw one into a rewarding and entertaining film experience.
THE OTHER SIDE OF SUNDAY
NRK Drama
Director:Berit Nesheim
Writers:Berit Nesheim, Lasse Glom
Based on a novel by:Reidun Nordtvedt
Cinematographer:Arne Borsheim
Editor:Lillian Fjellvaer
Music:Geir Bohren, Bent Aserud
Art director:Grethe Heier
Color/stereo
Cast:
Maria:Marie Theisen
Mrs. Tunheim:Hildegunn Riise
The Priest:Bjorn Sundquist
Running time -- 103 minutes
No MPAA rating...
Set in a rural town in 1959, "The Other Side of Sunday" is based on a novel by Reidun Nordtvedt and takes us inside the irreverent head of pretty Maria (newcomer Marie Theisen), daughter of the neighborhood priest (Bjorn Sundquist). He is stern, cold and humorless. No piano-playing Sunday. Women are not allowed to wear earrings or makeup. Unrelentingly patriarchal, he makes all the decisions.
Maria's thoughts stray wildly as she attends church and listens to her father. She admires the breasts of another woman and wants her own to "point upward." Alas, it's the Bible, the Song of Solomon in particular, that leads Maria away from the strict lifestyle of her family and into a friendship with the independent church organist, Mrs. Tunheim (Hildegunn Riise).
From bathing naked in the river to making jewelry from milk-bottle tops, the lead's wiser-but-sadder friend helps Maria build confidence and broaden her perspective. It's not long before she's courageously mixing with wilder contemporaries and even helps dissuade a friend from becoming a "church hag" or too-trusting Christian wife such as Maria's mother.
When Maria finally stands up to her father, the film and 16-year-old Theisen have led one through familiar but well-executed episodes of sensual and spiritual awakening, along with a few setbacks and complications. A climactic tragedy leaves a sour aftertaste, but overall "The Other Side of Sunday" is satisfying and rich in details and humor.
Nesheim ("Frida -- Straight From the Heart") is both restrained and playful in her direction of the potentially lurid story line. The filmmakers superbly evoke the oppressive but energetic milieu, while Theisen and the fine cast draw one into a rewarding and entertaining film experience.
THE OTHER SIDE OF SUNDAY
NRK Drama
Director:Berit Nesheim
Writers:Berit Nesheim, Lasse Glom
Based on a novel by:Reidun Nordtvedt
Cinematographer:Arne Borsheim
Editor:Lillian Fjellvaer
Music:Geir Bohren, Bent Aserud
Art director:Grethe Heier
Color/stereo
Cast:
Maria:Marie Theisen
Mrs. Tunheim:Hildegunn Riise
The Priest:Bjorn Sundquist
Running time -- 103 minutes
No MPAA rating...
- 1/29/1997
- The Hollywood Reporter - Movie News
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