Universal’s ‘Moonage Daydream’ and Sony’s ‘Hallelujah: Leonard Cohen, A Journey, A Song’ both out.
Two modern music icons face off at UK-Ireland cinemas this weekend, with the release of David Bowie documentary Moonage Daydream and Hallelujah: Leonard Cohen, A Journey, A Song.
Opening in 50 sites, most of which are Imax, Universal’s Moonage Daydream is a journey through Bowie’s creative and musical output. The film, which launched as an out-of-competition Midnight Screening in Cannes this May, is written, directed, edited and produced by US filmmaker Brett Morgen.
Moonage Daydream has the backing of the David Bowie estate...
Two modern music icons face off at UK-Ireland cinemas this weekend, with the release of David Bowie documentary Moonage Daydream and Hallelujah: Leonard Cohen, A Journey, A Song.
Opening in 50 sites, most of which are Imax, Universal’s Moonage Daydream is a journey through Bowie’s creative and musical output. The film, which launched as an out-of-competition Midnight Screening in Cannes this May, is written, directed, edited and produced by US filmmaker Brett Morgen.
Moonage Daydream has the backing of the David Bowie estate...
- 9/16/2022
- by Ben Dalton
- ScreenDaily
One of the most important Korean filmmakers in the 1960s and 70s, Lee Man-hee established his reputation as a master of genre cinema, at a time the industry had yet to embrace horrors and thrillers, which have since become staples of the local film scene. Born in 1931 as the youngest of eight children, Lee took part in the Korean War as a codebreaker before entering the film industry in 1956, working as an assistant director for filmmakers such as Ahn Jong-hwa, Park Gu and Kim Myeong-je. He debuted as a filmmaker in his own right with “Kaleidoscope” in 1961, which featured the famous actor Kim Seung-ho. His third film, “Call 112” (1962) brought Le commercial success and his next task was to revolutionise Korea’s genre scene, notably with the horror “The Devil’s Stairway” and the film noir ” Black Hair”, both in 1964. Not one to stick to one formula, Lee also made a mark as an artistic filmmaker,...
- 8/19/2022
- by Panos Kotzathanasis
- AsianMoviePulse
Award-winning Doctor Who doc “Doctor Who Am I” has been snapped up by Kaleidoscope Film Distribution, Variety can exclusively reveal.
Kaleidoscope are set to release “Doctor Who Am I” theatrically in the U.K. in October and are also repping international sales. Materials will be available to view at TIFF next month.
Marking Vanessa Yuille directorial debut, the documentary feature tells the story of the infamous 1996 “Doctor Who” TV film, which was produced during a gap in the TV series. It featured Paul McGann as the Time Lord but received disapprobation from fans, who were apparently unhappy at the suggestion the Doctor was half human, especially when he kissed his assistant Grace Holloway.
Matthew Jacobs wrote the standalone “Doctor Who” film and, in “Doctor Who Am I,” he reluctantly allows himself to be drawn back into the time period to examine the making of the production as well the reaction it inspired.
Kaleidoscope are set to release “Doctor Who Am I” theatrically in the U.K. in October and are also repping international sales. Materials will be available to view at TIFF next month.
Marking Vanessa Yuille directorial debut, the documentary feature tells the story of the infamous 1996 “Doctor Who” TV film, which was produced during a gap in the TV series. It featured Paul McGann as the Time Lord but received disapprobation from fans, who were apparently unhappy at the suggestion the Doctor was half human, especially when he kissed his assistant Grace Holloway.
Matthew Jacobs wrote the standalone “Doctor Who” film and, in “Doctor Who Am I,” he reluctantly allows himself to be drawn back into the time period to examine the making of the production as well the reaction it inspired.
- 8/11/2022
- by K.J. Yossman
- Variety Film + TV
Jaie Laplante has been tapped as the new artistic director of Doc NYC, America’s largest and arguably most influential documentary festival. He will replace Thom Powers, the festival’s founding artistic director, who will move into a previously announced new role as director of special projects.
In addition, the festival is unveiling its wider programming team for features and shorts. The festival will hold its 13th edition from Nov. 9 to Nov. 17. The 2022 version will be both in person in New York and accessible online across the U.S.
Laplante offers more than 20 years of festival experience. For the past 12 years, he served as the Miami Film Festival’s executive director and co-director of programming, where he oversaw a major expansion of that festival’s documentary selections, as well as launched a digital screening platform and the Google Talks on Gender & Racial Gaps in Film & Technology. He simultaneously oversaw year-round...
In addition, the festival is unveiling its wider programming team for features and shorts. The festival will hold its 13th edition from Nov. 9 to Nov. 17. The 2022 version will be both in person in New York and accessible online across the U.S.
Laplante offers more than 20 years of festival experience. For the past 12 years, he served as the Miami Film Festival’s executive director and co-director of programming, where he oversaw a major expansion of that festival’s documentary selections, as well as launched a digital screening platform and the Google Talks on Gender & Racial Gaps in Film & Technology. He simultaneously oversaw year-round...
- 6/2/2022
- by Brent Lang
- Variety Film + TV
Keep up with the always-hopping film festival world with our weekly Film Festival Roundup column. Check out last week’s Roundup right here.
Lineup Announcements
– The Museum of the Moving Image (MoMI) and The India Center Foundation are launching India Kaleidoscope, an “exciting new festival that will present film lovers with a chance to immerse themselves in the unique sights and sounds that make up the Indian regional, independent film landscape.”
The inaugural India Kaleidoscope Festival, taking place December 8 – 11 at the Museum, will feature eight films, including seven new titles that will be making their U.S. or North American premieres and one special presentation of a classic Indian film. Most films will feature directors in person. The Opening Night film is “India in a Day,” an ambitious documentary project initiated by Google and comprised of images shot by thousands of people throughout India, artfully edited by director Richie Mehta...
Lineup Announcements
– The Museum of the Moving Image (MoMI) and The India Center Foundation are launching India Kaleidoscope, an “exciting new festival that will present film lovers with a chance to immerse themselves in the unique sights and sounds that make up the Indian regional, independent film landscape.”
The inaugural India Kaleidoscope Festival, taking place December 8 – 11 at the Museum, will feature eight films, including seven new titles that will be making their U.S. or North American premieres and one special presentation of a classic Indian film. Most films will feature directors in person. The Opening Night film is “India in a Day,” an ambitious documentary project initiated by Google and comprised of images shot by thousands of people throughout India, artfully edited by director Richie Mehta...
- 12/1/2016
- by Kate Erbland
- Indiewire
Though York couldn't maintain the Christie-like success of her 60s peak, her unusual choices made for an interesting career
There was a rage for Susannah York in the 60s like there was for Julie Christie and Vanessa Redgrave, so it seemed odd when it ended in the mid-70s. All of a sudden, the rush of good parts stopped. This seemed odd, after her Oscar nomination as best supporting actress in They Shoot Horses, Don't They? (1969). But then, why did she let herself take such roles as that of the superfluous wife in The Battle of Britain in the same year?
In her early career, York had seemed a conventional English beauty: as Alec Guinness's daughter in 1960's Tunes of Glory (her actual debut) and a touching lead performance the following year in Lewis Gilbert's The Greengage Summer as a young woman in France coming to sexual maturity.
There was a rage for Susannah York in the 60s like there was for Julie Christie and Vanessa Redgrave, so it seemed odd when it ended in the mid-70s. All of a sudden, the rush of good parts stopped. This seemed odd, after her Oscar nomination as best supporting actress in They Shoot Horses, Don't They? (1969). But then, why did she let herself take such roles as that of the superfluous wife in The Battle of Britain in the same year?
In her early career, York had seemed a conventional English beauty: as Alec Guinness's daughter in 1960's Tunes of Glory (her actual debut) and a touching lead performance the following year in Lewis Gilbert's The Greengage Summer as a young woman in France coming to sexual maturity.
- 1/18/2011
- by David Thomson
- The Guardian - Film News
Star of Tom Jones and They Shoot Horses, Don't They?, she defied typecasting
Susannah York, who has died aged 72, was a vibrant, energetic personality with a devouring passion for work, strong political opinions and great loyalty to old friends. Her international reputation as an actor depended heavily on the hit films she made in the 1960s, including Tom Jones (1963) and They Shoot Horses, Don't They? (1969, for which she received an Oscar nomination for best supporting actress. But, even when her movie career waned, she worked ceaselessly in theatre, often appearing in pioneering fringe productions. It was typical of her that, although diagnosed with cancer late in 2010, she refused chemotherapy and fulfilled a contractual obligation to do a tour of Ronald Harwood's Quartet.
In her early years York was often cast as an archetypal English rose. But, although born in Chelsea, south-west London (as Susannah Yolande Fletcher), she was raised...
Susannah York, who has died aged 72, was a vibrant, energetic personality with a devouring passion for work, strong political opinions and great loyalty to old friends. Her international reputation as an actor depended heavily on the hit films she made in the 1960s, including Tom Jones (1963) and They Shoot Horses, Don't They? (1969, for which she received an Oscar nomination for best supporting actress. But, even when her movie career waned, she worked ceaselessly in theatre, often appearing in pioneering fringe productions. It was typical of her that, although diagnosed with cancer late in 2010, she refused chemotherapy and fulfilled a contractual obligation to do a tour of Ronald Harwood's Quartet.
In her early years York was often cast as an archetypal English rose. But, although born in Chelsea, south-west London (as Susannah Yolande Fletcher), she was raised...
- 1/17/2011
- by Michael Billington
- The Guardian - Film News
Most filmmakers have projects they want to make but never get around to. Maybe they can't get the funding together, maybe they lose the rights or maybe they pass away. There are famous examples of this all the way through history from Stanley Kubrick's Napoleon and Orson Welles's Don Quixote to newer projects like James Cameron's Spider-Man, Tim Burton's Superman and Peter Jackson's Halo. The list goes on and on. Artist Fernando Reza, who also did these cool TV Band posters [1], asked the question, "What If?" What if Stanley Kubrick finished Napoleon? What is Orson Welles finished Don Quixote? And he answered those questions with his new set of film posters called The Ones That Got Away; Four posters including those two aforementioned films as well as Alfred Hitchcock's Kaleidoscope and David Lean's Nostromo. Read what Reza had to say about the project,...
- 1/10/2011
- by Germain Lussier
- Slash Film
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