One of the most anticipated moments of the 77th Cannes Film Festival finally arrived Monday night with the world premiere of the Donald Trump drama The Apprentice, starring Sebastian Stan as a young version of the real estate mogul in his pre-maga days.
Only Francis Ford Coppola’s wildly ambitious swan song Megalopolis had inspired more pre-premiere chatter and curiosity at this year’s edition of the glamorous French film festival. Ahead of its unveiling, virtually no one had seen The Apprentice, as the movie reportedly was finished only days before its premiere.
Ali Abbasi, Stan, Martin Donovan and Maria Bakalova walked the Cannes red carpet for the premiere. Only Jeremy Strong, who plays notorious political fixer Roy Cohn in the film, was not in attendance.
Directed by acclaimed Iranian-Danish filmmaker Abbasi and written by Gabe Sherman, The Apprentice explores Donald Trump’s rise to power in 1980s America under...
Only Francis Ford Coppola’s wildly ambitious swan song Megalopolis had inspired more pre-premiere chatter and curiosity at this year’s edition of the glamorous French film festival. Ahead of its unveiling, virtually no one had seen The Apprentice, as the movie reportedly was finished only days before its premiere.
Ali Abbasi, Stan, Martin Donovan and Maria Bakalova walked the Cannes red carpet for the premiere. Only Jeremy Strong, who plays notorious political fixer Roy Cohn in the film, was not in attendance.
Directed by acclaimed Iranian-Danish filmmaker Abbasi and written by Gabe Sherman, The Apprentice explores Donald Trump’s rise to power in 1980s America under...
- 5/20/2024
- by Patrick Brzeski and Scott Roxborough
- The Hollywood Reporter - Movie News
2023 was a year of seemingly seismic change for the film industry, as superhero movies (especially Marvel) lost their grip on the box office while more auteur-led efforts such as Oppenheimer and Barbie made serious bank. Audiences seem hungry for a return to thoughtful and engaging efforts, voting for their wallets against a decade of cape-clad hegenomy in favour of more challenging (and visually interesting) cinema. But as with the majority of contemporary film analysis, these are mostly concerns for Hollywood. The international arthouse scene plugs away as usual, providing a diverse range of exciting visions that once again expand the very possibilities of the cinematic form. I went back and forth on this list several times, only coming to a final top ten this very morning. With courtroom drama, oddball romance, epic character study and even outright horror, this year’s selection subverted and expanded genre norms, showing that great cinema,...
- 12/26/2023
- by Redmond Bacon
- Directors Notes
The burgeoning subgenre of films that are set in vacation resorts but are anything but sunny - including everything from Aftersun and Make Up to Suntan - gets another entry with Sofia Exarchou’s second film. Her tale, like Suntan’s, begins in the slate-skied pre-season on an unnamed Greek island. It’s here where we enter the hotel Mirage, its name clueing us in to what we might expect from this character study, as the entertainment “animateurs” work exhaustively on creating stage shows that offer the illusion of a good time.
Dancer Kalia (Dimitra Vlagopoulou) has been doing this for years, painting on a smile and singing Baccara’s Yes Sir, I Can Boogie in front of a sparse crowd of holidaymakers. Despite her obvious abilities, she is a hot mess, coming alive during performances but struggling in between times. She senses a kindred spirit with the arrival of the young and inexperienced.
Dancer Kalia (Dimitra Vlagopoulou) has been doing this for years, painting on a smile and singing Baccara’s Yes Sir, I Can Boogie in front of a sparse crowd of holidaymakers. Despite her obvious abilities, she is a hot mess, coming alive during performances but struggling in between times. She senses a kindred spirit with the arrival of the young and inexperienced.
- 8/2/2023
- by Amber Wilkinson
- eyeforfilm.co.uk
Loose Cannons/Mine Vaganti
Director: Ferzan Ozpetek
Writtem by Ivan Cotroneo & Ferzan Ozpetek
Italy, 2010
Ferzan Ozpetek’s comedy drama Loose Cannons springs a few surprises – not least the long-forgotten voices of Spanish disco duo Baccara on the soundtrack. The dubious musical selections sound a jarring note in what is otherwise a witty and well-crafted tale of dysfunction within a bourgeois Italian family. To borrow that memorable last line from one of the greatest screen comedies: “Nobody’s perfect.”
Tommaso Cantone (Riccardo Scamarcio) and his elder brother Antonio (Alessandro Preziosi) are about to take over the reins of the family’s pasta business in southern Italy. But Tommaso, a writer who now lives in Rome, is determined to go his own way. He confides to his brother that he plans to come out to his relatives at an important dinner that evening. In the ultimate act of filial betrayal, Antonio steals...
Director: Ferzan Ozpetek
Writtem by Ivan Cotroneo & Ferzan Ozpetek
Italy, 2010
Ferzan Ozpetek’s comedy drama Loose Cannons springs a few surprises – not least the long-forgotten voices of Spanish disco duo Baccara on the soundtrack. The dubious musical selections sound a jarring note in what is otherwise a witty and well-crafted tale of dysfunction within a bourgeois Italian family. To borrow that memorable last line from one of the greatest screen comedies: “Nobody’s perfect.”
Tommaso Cantone (Riccardo Scamarcio) and his elder brother Antonio (Alessandro Preziosi) are about to take over the reins of the family’s pasta business in southern Italy. But Tommaso, a writer who now lives in Rome, is determined to go his own way. He confides to his brother that he plans to come out to his relatives at an important dinner that evening. In the ultimate act of filial betrayal, Antonio steals...
- 4/7/2011
- by Susannah
- SoundOnSight
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