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19.08.2023 / 08:03

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‘You Were Never Really Here’ Director Lynne Ramsay Dishes on Upcoming Collabs with Jennifer Lawrence, Joaquin Phoenix, Sandra Oh, Julianne Moore

Christopher Vourlias Receiving a lifetime achievement award this week at the Sarajevo Film Festival, Scottish director Lynne Ramsay teased a slew of projects currently in the pipeline, heralding her much-anticipated return to the director’s chair since wowing Cannes in 2017 with the Joaquin Phoenix-starring thriller “You Were Never Really Here.” Among them are a second collaboration with Phoenix, who earned best actor honors on the Croisette for that performance, as well as “Stone Mattress,” a revenge thriller set aboard a luxury Arctic cruise that stars Julianne Moore and Sandra Oh. There’s also “Die, My Love,” starring Jennifer Lawrence, which is based on the novel by Argentinian writer Ariana Harwicz about a woman living in isolation in rural France who loses her mind amid marriage and motherhood.

Jennifer Lawrence My Love Margaret Atwood Sandra Oh Julianne Moore Christopher Vourlias Jessica Kiang Lynne Ramsay France Scotland Argentina city Sarajevo Hollywood film stars actor Акции DISH

Radu Jude’s ‘Do Not Expect Too Much From the End of the World’ Picked Up by Sovereign for U.K., Ireland (EXCLUSIVE)

Ellise Shafer Sovereign has acquired the U.K. and Ireland rights to Radu Jude’s latest feature, “Do Not Expect Too Much From the End of the World,” which won the special jury prize at Locarno Film Festival.

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‘Simone: Woman of the Century’ Review: Olivier Dahan’s Lavish but Mawkish Biopic of Simone Veil

Jessica Kiang In 2008, French politician Simone Veil became only the sixth woman ever inducted into the Académie Française, an august institution tasked with the regulation of the French language. As a newly minted “immortal” — the unofficial name given to the Académie’s 40 members — she was presented with a sword that bore three engravings: the motto of France (“liberté, egalité, fraternité“), that of Europe (“Unis dans le diversité“) and her Auschwitz prisoner number, which remained tattooed on her arm until her death in 2017.

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‘Man in Black’ Review: Wang Bing’s Mid-Length Art Piece is Part Memoir, Part Music, All Mesmerizing

Jessica Kiang The man is not in black. He is in nothing at all. Wearing his nakedness calmly, like a fact so obvious it requires no explanation, an 86-year-old Chinese male stands up slowly in the otherwise empty gallery of Paris’ famous Bouffes du Nord theatre. The artfully peeling, faded-grandeur interior, dim but for gathered pools of warm light, booms with the sound of his wooden seat swinging back into place, then with the creaks of the floorboards under his bare feet. This is the arresting opening to Chinese documentarian Wang Bing’s other Cannes 2023 film, “Man in Black,” a project so diametrically different from his Competition entry “Youth: Spring” that it feels hard to credit them both to the same person. Perhaps we shouldn’t. This brief but profoundly moving film represents such a consummate collaboration between director, cinematographer, editor and subject that its authorship could be recorded as a four-way tie.

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‘Goodbye Julia,’ First Film From Sudan at Cannes, Scores Substantial Sales After Winning an Un Certain Regard Prize (EXCLUSIVE)

Nick Vivarelli International Correspondent Sudanese director Mohamed Kordofani’s feature debut “Goodbye Julia,” a timely morality tale that takes place just before the 2011 secession of South Sudan and won the Un Certain Regard section’s Prix de Liberté (Freedom Prize) at Cannes, has scored a raft of sales following its launch. The first Sudanese film ever to screen in Cannes official selection, “Goodbye Julia” is the story of two women — one from the North, the other from the South — who are brought together by fate in a complex relationship that attempts to reconcile differences between northern and southern Sudanese communities in the currently war-ravaged country.

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‘Cobweb’ Review: Song Kang-ho Stars in Kim Jee-woon’s Frantic, Flimsy Moviemaking Meta-Farce

Jessica Kiang Director Kim Ki-yeol (Song Kang-ho) only needs two more days of reshoots to craft a new ending to his latest film, and it will no longer be the trashy potboiler everyone thought he was making. It will be, he declares frequently, “A masterpiece!” Director Kim Jee-woon does not seem to harbor similar aspirations for his meta-movie “Cobweb” — his loosest, least substantial and most slapdash film in quite some time — though it’s safe to say the gulf between it and masterpiece status is a little wider than a two-day reshoot could possibly bridge. A film containing another film; a filmmaker referring to the trials of a filmmaker: It’s a movie of many layers, all of them garish and goofy, none of them great.

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‘Reality’ Trailer: Sydney Sweeney Stuns as Whistleblower Reality Winner in HBO’s Riveting Docudrama

Sophia Scorziello editor The FBI has it out for Sydney Sweeney in the trailer for “Reality,” Tina Satter’s gripping biopic-docudrama about the America intelligence whistleblower Reality Winner. The upcoming HBO film stars Sweeney as Winner, who was imprisoned for releasing classified information about Russian involvement in the 2016 U.S. presidential election. The film also stars Marchánt Davis and Josh Hamilton. “Reality” is based on Satter’s play, “Is This a Room,” and the FBI’s transcript of their 2017 interrogation of Winner, which took place in her home just days prior to her arrest.

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‘The Eight Mountains’ Scores Top Honor at Italy’s David di Donatello Awards

Nick Vivarelli International Correspondent “The Eight Mountains,” Belgian directors Felix Van Groeningen and Charlotte Vandermeersch’s Italian-language drama about friendship, mountains and growing up, scored the top prize at Italy’s 68th David di Donatello Awards. Besides winning best picture, the film also scooped statuettes for best non-original screenplay, photography and sound. Given that the directors are not Italian, it was a particularly significant victory for “Mountains,” which was praised as “quietly magnificent” by Variety critic Jessica Kiang. The film, which is currently playing well on the U.S. arthouse circuit, tracks the decades-long friendship between two Italian boys named Pietro and Bruno — one from the city, the other a shepherd boy from the Alps.

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Neon Buys Anne Hathaway, Thomasin McKenzie Thriller ‘Eileen’

Brent Lang Executive Editor Neon has purchased North American rights to “Eileen,” an adaptation of Ottessa Moshfegh’s acclaimed novel of the same title. The movie debuted to strong reviews at Sundance, but its high price tag, said by sources to be in the range of $15 million, made it difficult for the film to score a distribution deal. It languished on the market for roughly two months as several studios kicked the tires. This despite the combined star wattage of “Jojo Rabbit’s” Thomasin McKenzie and Oscar-winner Anne Hathaway and a twisty plot. The rest of the ensemble includes Shea Whigham, Marin Ireland, and Owen Teague. William Oldroyd (“Lady Macbeth”) directs from a script by Moshfegh who adapted “Eileen” with Luke Goebel. Neon will release the film theatrically this fall.

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‘Reality,’ Berlin Breakout starring Sydney Sweeney, Sells Worldwide for MK2 Films (EXCLUSIVE)

Elsa Keslassy International Correspondent Mk2 films has enlisted leading distributors around the world for “Reality,” Tina Satter’s feature debut starring Sydney Sweeney, on the heels of its buzzy world premiere at the Berlinale. The movie, which bowed in the Panorama section, stars Sweeney (“White Lotus,” “Euphoria”) as Reality Winner, a 25 year-old whistleblower who spent five years in prison during the Trump administration. A former U.S. Air Force member and National Security Agency translator, Winner was convicted for leaking a confidential report on Russian election interference to the media. The film is based on Satter’s 2019 stage play “Is This a Room” and contains verbatim dialogue from the unedited transcript of a FBI audio recording. “Reality” captures the tense and surreal 90 minutes of FBI’s interrogation with Winner at her home in 2017.

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Berlin Breakout ‘Reality,’ Starring Sydney Sweeney, Acquired by HBO Films

Angelique Jackson Following a buzzy world premiere at the Berlin Film Festival, HBO Films has acquired the U.S. rights to the docudrama “Reality,” starring Sydney Sweeney. In the film, directed by Tina Satter, Sweeney portrays Reality Winner, a woman convicted of leaking a confidential report on Russian election interference to the media. The film contains verbatim dialogue from the unedited transcript of a FBI audio recording, capturing a tense 90 minutes as the FBI interrogates Winner at her home in 2017. The whistleblower — a former U.S. Air Force member and National Security Agency translator — was sentenced to five years in prison. Satter makes her feature directorial debut with the film, based on her 2019 stage play “Is This a Room.” She also executive produced the project and co-wrote the screenplay with James Paul Dallas.

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‘Music’ Review: Angela Schanelec’s Radically Mystifying But Rewarding Riff on ‘Oedipus Rex’

Jessica Kiang Writing about music is like dancing about architecture, the maxim goes. And writing about “Music,” the latest beautiful and strange deep-niche arthouse artifact from uncompromising formalist Angela Schanelec, feels like a similarly doomed proposition. The limitations of language are seldom as apparent as when grappling with the silvery elisions and crisp, cryptic omissions of this glancing take on Sophocles’ “Oedipus Rex.” Schanelec is unlikely to vastly expand her fanbase here, but the tiny, fervent following she has accrued over the course of now 10 fantastically intricate features may be more than ever entranced by the fertile illogic of “Music,” a postmodern expression of a premodern text.

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Director Tina Satter on Telling Whistleblower Reality Winner’s Story in Berlinale’s ‘Reality,’ Starring Sydney Sweeney

Shayeza Walid Acclaimed New York-based theater director Tina Satter has worked on productions on and off Broadway for more than a decade. Now, in her first ever venture into film, Satter makes her directorial debut with “Reality,” starring Sydney Sweeney, based on Satter’s play “Is This a Room.” The film premiered Saturday at the Berlin Film Festival with Variety critic Jessica Kiang calling it a “clever, gripping docudrama.” For Satter, who co-wrote the screenplay with James Paul Dallas, making this movie was always in the books. The film, based on the real-life FBI interrogation transcript of whistleblower Reality Winner, is one Satter could envision the first time she came across the documents of the conversation between Winner and the Federal Bureau.

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Sundance Standout ‘Animalia’ Acquired For Middle East Distribution by Egypt’s Film Clinic (EXCLUSIVE)

Nick Vivarelli International Correspondent Sundance standout film “Animalia,” by French-Moroccan filmmaker Sofia Alaoui, has been acquired for distribution across the Middle East and North Africa by Egypt’s Film Clinic, the shingle headed by producer Mohammed Hefzy. Film Clinic, a top film and TV production company that branched out into theatrical distribution in 2016, picked up “Animalia” from Paris-based sales company Totem Films. Alaoui’s genre-bending pic is the tale of a pregnant young woman in Morocco whose life is upended by an alien invasion. In her review, Variety review critic Jessica Kiang praised “Animalia” as “a compellingly different cultural and social perspective on a classic sci-fi premise.” “Alaoui, working from her own taut, confidently ambiguous script, also gets to comment on the position of women in Muslim societies and the limits of wealth and organized faith, as well as elegantly outlining the eerie experience that is suddenly finding yourself startlingly alone during a time of shared global panic,” Kiang noted.

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The Lumière Festival Presents A Trio of Stunning Meiko Kaji Movies

Jessica Kiang 30 years after Japanese moviegoers first heard “The Flower of Carnage,” the theme song of Toshio Fujita’s “Lady Snowblood” sung by star Meiko Kaji, it came to mainstream Western audiences via Quentin Tarantino’s “Kill Bill.” Kaji’s sweet, clear voice sings about a “woman who walks at the brink of life and death,” and Uma Thurman slices the top off Lucy Liu’s head, where three decades before, her song had soundtracked another grievously wounded, kimono-ed beauty whose last breath is captured in full-face close-up before she staggers to her knees in the snow. The trio of Kaji’s films, including “Lady Snowblood,” playing the Lumière Festival this week, invite us to (re)visit this fascinating icon’s work fresh from the source, and find in it a bristling, innovative vitality often absent from the many movies that cite it as an influence.

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Karlovy Vary Prizewinner ‘Art Talent Show’ Picked Up by Filmotor (EXCLUSIVE)

Leo Barraclough International Features Editor Prague-based sales agent Filmotor has boarded Adela Komrzy’s and Tomas Bojar’s feature documentary “Art Talent Show,” which won two awards at the Karlovy Vary Film Festival in July. After its premiere at Karlovy Vary, where it won the Grand Prix in the Proxima competition section and the FIPRESCI international critics’ award, the film’s North American rights were acquired by Film Movement. Aero Films will release the film theatrically in the Czech Republic in October, and Film Expanded will release the film theatrically in Slovakia in the spring.

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‘No Bears’ Review: Jafar Panahi’s Inventive, Illuminating Autofiction Builds to a Tragic New Twist in the Tale

Jessica Kiang When the definitive book on dissident filmmaking is written, it will have at least several chapters and a lengthy appendix dedicated to Iran’s Jafar Panahi, who has now covertly made five astonishingly resourceful features since being banned from filmmaking by the Iranian authorities in 2010. But given those circumstances, perhaps the biggest ongoing surprise of his career has been just how lively his illegally shot films have been — even while, as metafictions, they refer continually to the hampered circumstances of their creation. “No Bears,” which premieres in competition in Venice, certainly starts in that register, with a rugpull or two and handful of seriocomic, absurdist observations on the foibles of Iranian village life. But then, as though it were anticipating the worsening political situation which culminated in Panahi’s detention in July 2022 for a six-year prison sentence, the mood darkens, prior to an ambiguous but devastating finale which seems to even include the director’s own tendency toward playfulness in its critique. If Panahi’s dissident films have to date been journeys of discovery about the subversively liberating, life-affirming power of cinema, “No Bears” is where he slams on the brakes.

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