Paris Texas’ “Bullet Man” video is a bitterly funny, paranoid gunfight

Leo Barraclough International Features Editor Brussels-based company Best Friend Forever has acquired the international rights of Lkhagvadulam Purev-Ochir’s debut feature “City of Wind.” The film is in post-production and will be ready for a world premiere in fall 2023. Purev-Ochir is known for several high-profile short films, including “Mountain Cat,” which was in Cannes Competition in 2020, and won best short in Busan in 2020, and “Snow in September,” which was awarded the Golden Lion for best short in Venice, and best short in Toronto last year. Ze is a timid 17-year-old shaman. He studies hard at school to succeed in the cold, callous society of modern Mongolia, while communing with his ancestral spirit to help those in his community. But when Ze encounters Maralaa, his senses are awakened and another reality seems possible.

Ruth Wilson (in a role originally taken by the show’s co-creator Nat Randall) enacted the same brief (farewell) encounter involving a woman called Virginia and a man called Marty on the Young Vic main-stage, playing opposite a different acting partner each time. A hundred faces in all – a logistical exercise fit for an Olympics ceremony.

Suzy Eddie Izzard shared the abuse she received when she first came out as transgender in the 1980s, including verbal abuse and being fought in the streets. Speaking on Good Morning Britain with Kate Garraway and Ben Shepherd on Friday (19 May), the comic star explained how she was ostracised by society and labelled as "toxic". The comedian, who is genderfluid but prefers the she/her pronouns, added the name 'Suzy' to her name but continues to use the name 'Eddie' too.

CANNES (Reuters) - Natalie Portman and Julianne Moore anchor director Todd Haynes' attempt at a fourth Palme d'Or in the drama "May December," which premiered at the Cannes Film Festival on Saturday night. Moore plays an older star who became tabloid fodder two decades earlier because of her relationship with a much younger man, played by Charles Melton - best known for "Riverdale.

Janette Manrara, 39, is set to become a mother for the first time, sharing the happy news with her husband Aljaz Skorjanec, 33, earlier this year. The former Strictly Come Dancing professional has since been keeping her Instagram followers up to date with every aspect of her pregnancy journey, even the low moments, as she revealed on Saturday. Janette took to her Instagram Stories to post a candid video of herself bursting into tears to shed light on the emotional "rollercoaster ride" she had been dealing with.

Leo Barraclough International Features Editor Flawless, XYZ Films and Tea Shop Productions have acquired the Cannes Critics’ Week selection “Vincent Must Die” for all English-speaking territories from Goodfellas. Flawless, the pioneering film technology company and a leader in the field of visual translation, recently announced it has launched a partnership with XYZ Films and Tea Shop Productions to acquire rights to foreign-language films, converting them to English for distribution in relevant markets. Directed by Stéphan Castang, “Vincent Must Die” is written by Mathieu Naert, produced by Thierry Lounas and Claire Bonnefoy, and stars Karim Leklou and Vimala Pons. In the film, an ordinary man finds himself fighting for his life after he goes out one day and is mysteriously attacked by random strangers in the street with the intent to kill him.

Ellie Leach is set to say goodbye to Coronation Street as Faye Windass leaves Weatherfield. The actress has grown up in front of viewers' eyes, but it's time for the 22-year-old to bid farewell to the cobbles.

The Duke and Duchess of Sussex have made demands that the photo agency which was allegedly involved in the 'near-catastrophic' car chase. Prince Harry and Meghan Markle - who were in New Yok City the night of the alleged chase - have demanded the photo agency hand over the footage snapped by photographers.

Leo Barraclough International Features Editor Beta Cinema has closed the first deals on tragicomedy “One Last Evening,” the inventive debut feature film from up-and-coming German director Lukas Nathrath. The Munich-based sales agency discovered the film at the Locarno Film Festival last year, where it screened in the Works-in-Progress section, and took the main prize, the First Look Award. The film has been sold to Filmwelt for Germany and Austria, September Film for Benelux, Aurora Films for Poland and Discovery for the former Yugoslavian territories. “One Last Evening” (“Letzter Abend”) draws a poignant and humorous portrait of Generation Y. The film, which is set during the pandemic, centers around a dinner party hosted by a young couple as they prepare to move from Hanover to Berlin.

May December co-stars Natalie Portman and Julianne Moore were joined by producer Will Ferrell when they walked the red carpet at the movie’s premiere during the 2023 Cannes Film Festival on Saturday (May 20) at the Palais des Festivals in Cannes, France.

The trailer for the final episodes of Netflix’s “Manifest” has arrived.

Sean Penn strongly backed the current Hollywood screenwriters strike while speaking at the Cannes Film Festival on Friday, saying the dispute over artificial intelligence is “a human obscenity.”

Taylor Swift‘s Eras Tour is one of the hottest shows of the year. Sadly, every Swiftie has not been able to secure tickets to see their fav on the road.

Natalie Portman is looking back on her “Star Wars” era.

Manic Street Preachers and Suede have announced details of a two co-headline shows in Japan.The gigs, which will take place in November, come off the back of the ’90s icons’ joint tour of the United States, which came in late 2022. They were also touring partners in the 1990s.Speaking ahead of that tour, Suede frontman Brett Anderson said: “I can’t think of a band I’d rather share a stage with than Manic Street Preachers.“They have long been an inspiration to us, and I know there are thousands of Suede fans who feel the same.

In 2013, filmmaker Anthony Chen’s first feature, “Ilo Ilo,” won the coveted Caméra d’Or at Cannes. Centered around the inseparable bond between a 10-year-old Singaporean boy and his Filipina nanny, Chen’s full-length debut deployed a specific lens — a family weathering the 1997 Asian financial crisis — to tell a universal story exploring the nooks and crannies of our shared humanity.

Peter Debruge Chief Film Critic In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being tempted to start his deep-as-you-want-to-go rabbit-hole drama “May December” the same way, seeing as how this endlessly fascinating movie focuses on the blurring of the lines between a Hollywood star (Natalie Portman) and her Heartland subject (Julianne Moore), who was caught in a sexual relationship with a 7th grader at the age of 36. The movie wants to know: Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick? A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of “Far From Heaven” to the queer twist on classical “woman’s pictures” provided by “Carol,” his style can be chilly and distancing. Not so “May December.” As layered and infinitely open-to-interpretation as any of his films, it’s also the most generous and direct, beginning not with Ingmar Bergman references (those come later), but with footage of monarch butterflies. They’re symbols of transformation, too, but also something nice to look at (and listen to, underscored by a lush reworking of the piano theme from “The Go-Between”) before these two women meet.

Matt Donnelly Senior Film Writer Todd Haynes brought delicious psychodrama to the Cannes Film Festival on Saturday, with the world premiere of his “May December” starring Natalie Portman and Julianne Moore. Captivating the Cannes crowd the film earned a 6-minute standing ovation at the festival’s Grand Palais. “May December” stars Natalie Portman as Elizabeth, an actor who heads to Savannah to study the lives of Gracie (Moore) and Joe (“Riverdale” star Charles Melton). Years prior, Gracie and Joe’s scandalous cross-generational affair sparked a national controversy due to their age gap and the fact that Gracie was Joe’s boss at a local pet store. Twenty years later, Elizabeth is playing Gracie in a film version of the scandal, but her arrival puts a disruptive pressure on Gracie and Joe’s marriage.

Kim Zolciak rang in her 45th birthday with her loved ones this week, but one person was not welcomed to her birthday celebration – her estranged hubby Kroy Biermann!

Todd Haynes has a way with female stars. I would even call him the new-age George Cukor in that regard. Whether in Carol with Cate Blanchett and Rooney Mara, or his HBOlimited series Mildred Pierce with Kate Winslet, or his homage to the director of so many so-called “women’s pictures” of the ’50s Douglas Sirk in Far From Heaven with Julianne Moore, he seems to be in his comfort zone with women. That has never been more apparent than his latest, May December, a deliciously entertaining showcase for Natalie Portman and Moore (her and Haynes’ fourth film together), which just had its world premiere Saturday in competition at the Cannes Film Festival.

Owen Gleiberman Chief Film Critic In “Black Flies,” a movie that keeps working to get high on its own intensity, Sean Penn and Tye Sheridan play paramedics who spend their nights driving through hell (I mean, Brooklyn). There are countless shots of the two in their EMS van, riding along under the tracks of an overhead subway train — the exact kind of grungy Brooklyn boulevard that Popeye Doyle went smashing through in the famous “French Connection” car/subway chase. As Rut (Penn) and Cross (Sheridan) patrol the borough neighborhood of Brownsville, one of the poorest and most crime-ridden sections of New York City, those overheard tracks become part of the film’s meticulously oppressive visual design. The two have so little breathing room they can barely see the sky. After a while, though, you start to think: Don’t these guys everdrive down a side street? Like everything else in “Black Flies,” those subway tracks are stylish signifiers of doom that are a little too in-your-face.