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Alissa Simon Film Critic In what seems like an odd choice for an English-language remake, helmer-writer Savi Gabizon transfers the action of his least successful Israeli drama, “Longing” (2017), to Canada. Alas, the story of a confirmed bachelor who learns that he fathered a son 19 years earlier fails to translate by striking far too many duff notes. Richard Gere struggles as the unlikable protagonist, whose attempts to learn more about the lad come off as creepy rather than poignant.

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‘Simon of the Mountain’ Review: Federico Luis’ Sometimes Playful, Often Provocative Debut Weighs What Constitutes Disability

Alissa Simon Film Critic Unusual in tone and content, “Simon of the Mountain” is a small, low-budget drama in which the title character tries to find his comfort zone. Unfolding in short vignettes, the Argentine feature centers on a group of nonprofessional performances: independent-minded adolescents with cognitive disabilities. The only professional actors featured on-screen play the title character and the working adults they interact with.

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‘Being Maria’ Review: A Poignant Dive Into the Turbulent Life of Actor Maria Schneider

Alissa Simon Film Critic “Being Maria” is a flawed but fascinating look at the turbulent life of actor Maria Schneider, played by a game Anamaria Vartolomei (“Happening”). It limns her rebellious teen years, her big breakthrough at 19 in Bernardo Bertolucci’s “Last Tango in Paris,” and how her trauma on set and the film’s notoriety impacted her subsequent career and mental health. Helmer Jessica Palud (“Back Home”) and co-scripter Laurette Polmanss loosely adapt a memoir by Schneider’s younger cousin to show events through the star’s eyes.

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‘Blue Sun Palace’ Review: A Moody Debut Shines Light on Sisterhood Among Chinese Immigrants Working in a Massage Parlor

Alissa Simon Film Critic The intimate and naturalistic Mandarin-language drama “Blue Sun Palace” has nabbed the French Touch prize from the Cannes Critics’ Week jury, putting Chinese-American writer-director Constance Tsang on the map as a talent to watch after her feature debut. Certain to see future festival action, the drama about three working-class Chinese immigrants in Flushing, NY, the film succeeds with touching performances from Ke-Xi Wu (“Nina Wu”), Lee Kang Sheng (Tsai Ming Liang’s iconic actor) and Haixpeng Xu (“Where Echoes Never End”) that could tempt distributors in the coming months.

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Carson Lund Pitches ‘Eephus’ as a Universal Tale on Change, Aging and Loss

Alissa Simon Film Critic American helmer Carson Lund uses the baseball diamond as a deeply cinematic space in his feature debut, “Eephus.” The esoteric title is the name of one of the game’s rarest pitches. “Eephus” marks the second film from the L.A. collective Omnes Films to screen in the Directors’ Fortnight along with “Christmas Eve in Miller’s Point,” which Lund shot.

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Scottish Filmmaker Lynne Ramsay Honored by Reykjavik’s Stockfish Fest

Alissa Simon Film Critic Scottish auteur Lynne Ramsay and former Icelandic Film Center (IFC) chief Laufey Guðjónsdóttir received honors from the 10th anniversary edition of Reykjavik’s Stockfish Film & Industry Festival (April 4 – 14, 2024). The awards, presented during a reception on April 11th, celebrate outstanding contributions to the film industry both internationally and domestically.

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Shooting Stars Presents Up-and-Coming European Actors at Berlinale

Alissa Simon Film Critic As some former European Shooting Stars celebrate Oscar noms for their latest films, the Europe-wide initiative to draw attention to up-and-coming performers coordinated by European Film Promotion introduces another 10 talents during the Berlinale. From Feb. 16-19, the selected actors will participate in workshops, as well as meetings with producers and casting directors.

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‘My Love Affair With Marriage’ Review: A Humorous But Hard-Hitting Animation for Adults About the Thing We Call Love

Alissa Simon Film Critic With “My Love Affair with Marriage,” animator Signe Baumane creates another dense personal narrative that expresses complicated concepts and ideas in images. Stuffed with irony, humor, Soviet history and musical numbers, her ambitious second feature (following 2014’s festival hit “Rocks In My Pockets”) boasts 30 singing and speaking characters (including a talking neuron that explains the biochemical processes of the brain) and about 200 non-speaking ones.

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‘Tiger Stripes’ Review: Puberty Brings Out the Monster Within in Feisty Malaysian Genre Movie

Alissa Simon Film Critic With her debut feature “Tiger Stripes,” Malaysian writer-director Amanda Nell Eu joins an exciting group of directors who provide subversive takes on genre and body horror. Julia Ducournau and “Raw” comes to mind, as do Agnieszka Smoczynska and “The Lure” and John Fawcett and “Ginger Snaps” — like David Cronenberg before them. Eu, an MA graduate of the London Film School, blends Malaysian folklore with heightened realism and a large dollop of “Mean Girls” in the story of a tween going through changes wrought by puberty and alterations in her friendship group.

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‘Bye Bye Tiberias’ Review: Hiam Abbass’ Daughter Honors Women Who Learned to Leave Everything and Start Anew

Alissa Simon Film Critic After “Their Algeria,” a well-received documentary from 2020 about the parents of her actor father Zinedine Soualem, France-born filmmaker-performer Lina Soualem turns her camera on her maternal relatives in “Bye Bye Tiberias,” in particular her mother, the Palestine-born actress Hiam Abbass. By telling their story, she hopes to reclaim and question the personal, historical and visual legacies she inherited and to answer the question “How does a woman find her place when caught between worlds?” a question that applies equally to her and her mother.

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Director of Oscar Entry ‘Voy! Voy! Voy!’ on the Dark Humor of Egyptians: ‘We Express Our Sadness by Laughing’

Alissa Simon Film Critic Egypt’s Oscar submission “Voy! Voy! Voy!,” from director-writer-producer Omar Hilal, is a blackly comic look at migration viewed through the lens of a conman pretending to be visually impaired in order to play in the Blind Football World Cup. The fast-paced, entertaining film makes its Moroccan debut in the Special Screenings section of the Marrakech Film Festival. Following its September premiere in Egypt, it held the top box-office spot for two months and did remarkably well in the Gulf states.

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‘Voy! Voy! Voy!’ Review: Egypt’s Oscar Submission Offers a Blackly Comic Look at Immigration

Alissa Simon Film Critic From its jaunty animated credits to its absurdly satisfying conclusion, “Voy! Voy! Voy!” is a saucy and blackly comic look at immigration. An entertaining first feature inspired by stranger-than-fiction actual events from seasoned adman Omar Hilal, here serving as director, writer and producer, Egypt’s official Oscar submission nabbed the top spot at the local box office for two months following its mid-September domestic release and also played well in the Gulf states.

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Klaus Haro Shines Light on Deportation of Jews From Finland in ‘Never Alone,’ First Look at World War II Drama (EXCLUSIVE)

Alissa Simon Film Critic Sometimes films highlight little-known events in their country of origin that wind up catalyzing a re-evaluation of their nation’s history. Finnish director Klaus Härö’s “Never Alone” is shaping up to be that sort of film. It follows the deportation from Finland of eight Austrian-Jewish refugees by the Gestapo during World War II and the work of Abraham Stiller, a pillar of the Helsinki Jewish community, who tried to stop it from happening.

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‘Shoshana’ Review: A Troubled Love Story Set Against the British Mandate in Palestine

Alissa Simon Film Critic Britain’s official post-WWI administration of Palestine lasted from 1920-48 and is probably the UK colonial enterprise least addressed by its fiction filmmakers. But now prolific writer-director Michael Winterbottom (“The Trip,” “A Mighty Heart”) uses that complicated era as a backdrop to the compelling historical romance “Shoshana.” A passion project 15 years in the making and based on real people and events, the film employs the ill-fated, cross-cultural relationship between a ranking member of the British Palestine Police Force and a young Jewish woman to explore the way extremism and violence push people apart, forcing them to choose sides.

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‘One Life’ Review: Anthony Hopkins and Johnny Flynn Spotlight the Selfless Deeds of ‘the British Schindler’

Alissa Simon Film Critic A classically crafted feature debut from veteran TV director James Hawes (“Black Mirror”), “One Life” intercuts two eras 50 years apart in the long life of humble British humanitarian Sir Nicholas Winton (1909-2015), referred to by some as “the British Schindler.” The biopic serves as a testament to the power of good, with a prestige cast including a fine, understated Anthony Hopkins as the reflective, older Winton, still haunted by the tragic end to his plan to save European child refugees, and Johnny Flynn as his energetic younger self, who embodies the belief that that if something is not impossible, then there must be a way to do it. Although the film as a whole struggles to match the poignancy of its finale, a re-creation of a famous 1988 clip from the British TV program “That’s Life!,” it nevertheless serves as an urgent reminder of the importance of individual action at a time when the world refugee crisis is at a scale not seen since the Second World War.

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‘Together 99’ Director Lukas Moodysson on Revisiting Characters and the Passage of Time

Alissa Simon Film Critic Swedish writer-director Lukas Moodysson is much beloved internationally for films such as “Show Me Love” (1998), “Together” (2000) and “Lilya 4-Ever” (2002). His filmography also includes the mostly English-language drama “Mammoth” (2009) with Michelle Williams and Gael Garcia Bernal, and “We Are the Best!,” (2013), a delightful adaptation of his wife’s graphic novel. His new film, “Together 99,” marks a sequel to his second feature. Why did you want to revisit the characters of “Together” 24 years on from the original film? I wanted to make a movie about the passage of time, but also about the feeling of time standing still.

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Arab Cinema Rises on International Stage

Alissa Simon Film Critic As you read this, new titles from filmmakers of Tunisian, Moroccan and Franco-Palestinian-Algerian heritage are making their mark at the Venice Film Festival, while Toronto Film Festival will premiere a trio of first features from Saudi Arabia, along with discoveries from the UAE and Palestine, plus a handful of Arab titles screened at Cannes and Venice. Those in the know say that the annual number of Arab films produced has increased along with the emergence of new filmmakers, and that fall festivals such as El Gouna, Marrakech, Cairo and Red Sea will be chockablock with fresh regional titles.

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Egypt’s El Gouna Film Festival Returns With New Artistic Director, Marianne Khoury, Impressive Lineup

Alissa Simon Film Critic After a one-year hiatus, the much-missed El Gouna Film Festival (Oct. 13 – 20) is back and poised to make an increased impact.

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Roman Bondarchuk Talks Blurring Fact and Fiction in ‘The Editorial Office,’ a Post-Truth Dramedy Set on the Eve of the Ukraine War

Christopher Vourlias Ukrainian filmmaker Roman Bondarchuk is winding down post-production on his latest feature film, “The Editorial Office,” a dramedy set on the eve of the Russian invasion. It’s among the works in progress being presented this week at CineLink Industry Days, the industry arm of the Sarajevo Film Festival.

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‘Blaga’s Lessons’ Director Stephan Komandarev on Diagnosing the Ills of Contemporary Bulgaria

Alissa Simon Film Critic Bulgarian multi-hyphenate Stephan Komandarev completes his trilogy on social problems and moral ills in contemporary Bulgaria with “Blaga’s Lessons,” world premiering in Karlovy Vary Film Festival’s Crystal Globe competition. Heretic is the sales agent. After “Directions” (2017), which centers on tough times for some Sofia taxi drivers over a long and eventful night, and “Rounds” (2019), about police officers patrolling the capital, Komandarev and his co-writer Simeon Ventsislavov use an older woman duped by a telephone scam to look at issues afflicting their parents’ generation. Komandarev says: “The Bulgarian pensioners turned out to be the real victims of the so-called ‘transition’ (the time from 1989 to today.) These people, who have worked and created persistently all their lives, have lost basic safety and security, normal food, adequate medical care, heating, etc.”

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Warwick Thornton on Cate Blanchett and Finding the Perfect Young Star for His Drama ‘New Boy’

Alissa Simon Film Critic Australian helmer-screenwriter-cinematographer Warwick Thornton won Cannes’ Camera d’Or with “Samson and Delilah” in 2009. Now he’s back with his third feature, “The New Boy,” competing in Un Certain Regard. The film turns on the story of an Aboriginal child, who arrives at a remote monastery run by a renegade nun. The new boy’s presence disturbs a delicately balanced world in this story of spiritual struggle and the cost of survival. The film stars Cate Blanchett, Deborah Mailman and Wayne Blair, and is produced by Kath Shelper, Andrew Upton, Blanchett and Lorenzo de Maio. Veterans is selling in Cannes. How did the Cannes Golden Camera influence your career?

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