Not even 12 hours ago we learned Kristen Stewart had nabbed a new auteur in Panos Cosmatos, a wise choice by the ever-adventurous actress. Her other choice on May 2, 2024 is quite another level of intrigue: Albert Serra, the perpetual festival favorite whose Pacifiction was something of a breakout hit, yes, if not quite to a level anyone anticipated. (Anyone but the man himself.) Per Film Stiftung, Serra’s previously announced Out of This World has secured funding, coinciding with a planned 2025 premiere.
Out of This World will likely feature an uncharacteristic level of English dialogue for Serra. As the official synopsis goes: “An American delegation travels to Russia in the midst of the Ukrainian war to try to find a solution to an economic dispute linked to sanctions. Out of This World explores the eternal rivalry between Russia and the USA.”
“As is often the case, one of the year’s...
Out of This World will likely feature an uncharacteristic level of English dialogue for Serra. As the official synopsis goes: “An American delegation travels to Russia in the midst of the Ukrainian war to try to find a solution to an economic dispute linked to sanctions. Out of This World explores the eternal rivalry between Russia and the USA.”
“As is often the case, one of the year’s...
- 5/3/2024
- by Leonard Pearce
- The Film Stage
Breathless reporting on standing ovations is not the only quantitative metric utilized during film festival season. There’s also how many minutes directors shave off of their films after seeing audience and critical reception. The latest in this category is Alejandro G. Iñarritu’s Bardo, False Chronicle of a Handful of Truths, which premiered in a nearly three-hour version and now has been retooled with 22 minutes spliced out.
IndieWire reports this new cut, running 2 hours and 32 minutes sans credits, will premiere at San Sebastián Film Festival, and the filmmaker opened up about the decision. “The first time I saw my film was with 2,000 people in Venice,” he said. “That was a nice opportunity to see it and learn about things that could benefit from being tied up a bit, add one scene that never arrived on time, and move the order of one or two things. Little by little, I tightened it,...
IndieWire reports this new cut, running 2 hours and 32 minutes sans credits, will premiere at San Sebastián Film Festival, and the filmmaker opened up about the decision. “The first time I saw my film was with 2,000 people in Venice,” he said. “That was a nice opportunity to see it and learn about things that could benefit from being tied up a bit, add one scene that never arrived on time, and move the order of one or two things. Little by little, I tightened it,...
- 9/22/2022
- by Leonard Pearce
- The Film Stage
While we’re in the middle of the fall festival season, with Telluride, Venice, and TIFF in the rearview, and NYFF, BFI London, and AFI Fest on the horizon, it’s time to round up some of our early favorites. We’ve polled our contributors from Venice and TIFF to share their top picks, which one can see below along with our ongoing coverage here.
David Katz (@davidfabiankatz)
1. Saint Omer (Alice Diop)
2. Trenque Lauquen (Laura Citarella)
3. All the Beauty and the Bloodshed (Laura Poitras)
4. Master Gardener (Paul Schrader)
5. The Whale (Darren Aronofsky)
6. Love Life (Kôji Fukada)
7. Blonde (Andrew Dominik)
8. A Couple (Frederick Wiseman)
9. In Viaggio (Gianfranco Rosi)
10. The Eternal Daughter (Joanna Hogg)
Luke Hicks (@lou_kicks)
1. Bones and All (Luca Guadagnino)
2. Other People’s Children (Rebecca Zlotowski)
3. All the Beauty and the Bloodshed (Laura Poitras)
4. The Eternal Daughter (Joanna Hogg)
5. Athena (Romain Gavras)
6. White Noise (Noah Baumbach)
7. The Banshees of Inisherin...
David Katz (@davidfabiankatz)
1. Saint Omer (Alice Diop)
2. Trenque Lauquen (Laura Citarella)
3. All the Beauty and the Bloodshed (Laura Poitras)
4. Master Gardener (Paul Schrader)
5. The Whale (Darren Aronofsky)
6. Love Life (Kôji Fukada)
7. Blonde (Andrew Dominik)
8. A Couple (Frederick Wiseman)
9. In Viaggio (Gianfranco Rosi)
10. The Eternal Daughter (Joanna Hogg)
Luke Hicks (@lou_kicks)
1. Bones and All (Luca Guadagnino)
2. Other People’s Children (Rebecca Zlotowski)
3. All the Beauty and the Bloodshed (Laura Poitras)
4. The Eternal Daughter (Joanna Hogg)
5. Athena (Romain Gavras)
6. White Noise (Noah Baumbach)
7. The Banshees of Inisherin...
- 9/21/2022
- by The Film Stage
- The Film Stage
Marking his first feature film since 2016’s The Handmaiden, Park Chan-wook is finally returning this fall with Decision to Leave. The Best Director winner at Cannes Film Festival earlier this year, Mubi will give the romantic mystery thriller a theatrical release starting October 14, followed by a streaming bow later this year. Ahead of the film’s New York Film Festival premiere, the new trailer has now landed.
Luke Hicks said in his Cannes Film Festival review, “Decision to Leave isn’t the kind of movie that benefits from too much plot description. Not for fear of spoilers. If anything it’s a wolf in sheep’s clothing, giving plotless meandering mood films a run for their money in a new genre. It’s a movie that keeps you guessing until you realize you’ve over-guessed. It could make a frustrating experience for some, but take a thematic cue from the...
Luke Hicks said in his Cannes Film Festival review, “Decision to Leave isn’t the kind of movie that benefits from too much plot description. Not for fear of spoilers. If anything it’s a wolf in sheep’s clothing, giving plotless meandering mood films a run for their money in a new genre. It’s a movie that keeps you guessing until you realize you’ve over-guessed. It could make a frustrating experience for some, but take a thematic cue from the...
- 9/15/2022
- by Leonard Pearce
- The Film Stage
On September 5, 2022, “Don’t Worry Darling” premiered at the Venice Film Festival to a mixed reception. The film, which is distributed by Warner Bros. Pictures and scheduled for wide release on September 23, 2022, is directed by Olivia Wilde with a star-studded cast including Harry Styles, Oscar nominee Florence Pugh, Chris Pine, and Gemma Chan. It centers on a couple in the 1950s that live in a seemingly idyllic neighborhood. When one of them begins to suspect something is amiss, unwanted waves are created within their little bubble. With a not-so-fresh rating of 43 on Rotten Tomatoes, what are critics saying?
See over 200 interviews with 2022 Emmy nominees
Hoai-Tran Bui of Slashfilm begins by praising Pugh as “one of our finest working actresses today, particularly because she knows how to use her face like she’s not saving it for later.” He continues, “Pugh is unsurprisingly immaculate as the slowly unraveling housewife, but as much...
See over 200 interviews with 2022 Emmy nominees
Hoai-Tran Bui of Slashfilm begins by praising Pugh as “one of our finest working actresses today, particularly because she knows how to use her face like she’s not saving it for later.” He continues, “Pugh is unsurprisingly immaculate as the slowly unraveling housewife, but as much...
- 9/7/2022
- by Vincent Mandile
- Gold Derby
Never one to be boxed into a corner, Jacques Audiard is following up his Palme d’Or-winning Dheepan and his English-language debut, the western The Sisters Brothers, with Paris, 13th District, a black-and-white tale of young love between four individuals. Scripted by Audiard, Léa Mysius, and Céline Sciamma, based on Adrian Tomine’s short stories, the Cannes premiere will now arrive in theaters next month and the new trailer has debuted via IFC Films.
Luke Hicks said in his review, “Audiard’s career-spanning desire to jump from story to story has landed him some new, noteworthy co-writers. The wandering narrative was penned by Léa Mysius, Portrait of a Lady on Fire writer-director Céline Sciamma, and Audiard himself. It’s an interwoven adaptation of three black-and-white Adrian Tomine short stories––“Amber Sweet,” “Summer Blonde,” and “Hawaiian Getaway”––from his graphic novel collection Killing and Dying (pulled from his popular New Yorker cartoon series,...
Luke Hicks said in his review, “Audiard’s career-spanning desire to jump from story to story has landed him some new, noteworthy co-writers. The wandering narrative was penned by Léa Mysius, Portrait of a Lady on Fire writer-director Céline Sciamma, and Audiard himself. It’s an interwoven adaptation of three black-and-white Adrian Tomine short stories––“Amber Sweet,” “Summer Blonde,” and “Hawaiian Getaway”––from his graphic novel collection Killing and Dying (pulled from his popular New Yorker cartoon series,...
- 3/21/2022
- by Jordan Raup
- The Film Stage
Every week, IndieWire asks a select handful of film critics a question pertaining to the contemporary movie landscape.
This week’s question: What is the best movie moment of 2018 so far?
The responses have been grouped alphabetically by movie, from “Annihilation” at the top to “You Were Never Really Here” at the bottom. Beware of spoilers.
Hoai-Tran Bui (@htranbui), /Film
“Annihilation” was an anomaly of a sci-fi film. Released by a major studio (and promptly buried soon after), “Annihilation” dared to be a surreal, grotesque, and straight-up weird deep dive into the human psyche. And while not every moment clicked nor every idea became fully formed, there was one moment that was, to me, the defining moment of Alex Garland’s dreamy masterpiece.
Shell-shocked by the brutal deaths of Anya (Gina Rodriguez) and Sheppard (Tuva Novotny), Lena (Natalie Portman) and Josie (Tessa Thompson) sit in the sun-dappled field filled with mysterious human-like foliage.
This week’s question: What is the best movie moment of 2018 so far?
The responses have been grouped alphabetically by movie, from “Annihilation” at the top to “You Were Never Really Here” at the bottom. Beware of spoilers.
Hoai-Tran Bui (@htranbui), /Film
“Annihilation” was an anomaly of a sci-fi film. Released by a major studio (and promptly buried soon after), “Annihilation” dared to be a surreal, grotesque, and straight-up weird deep dive into the human psyche. And while not every moment clicked nor every idea became fully formed, there was one moment that was, to me, the defining moment of Alex Garland’s dreamy masterpiece.
Shell-shocked by the brutal deaths of Anya (Gina Rodriguez) and Sheppard (Tuva Novotny), Lena (Natalie Portman) and Josie (Tessa Thompson) sit in the sun-dappled field filled with mysterious human-like foliage.
- 6/25/2018
- by David Ehrlich
- Indiewire
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.