Sean Baker: Last News

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Julia Ducournau’s New Film ‘Alpha’ Nabbed by Neon for North America

Matt Donnelly Senior Film Writer Neon, the Oscar-winning distributor of “Parasite,” is getting back in business with “Titane” director Julia Ducournau. In one of the first big rights deals of this year’s Cannes Film Festival, the studio announced it has acquired North American territories for Ducournau’s “Alpha.” Plot details were not immediately disclosed, except that the film will be “genre-defying.” Neon previously released Ducournau’s acclaimed “Titane,” which won Cannes’ highest honor, the Palme d’Or, in 2021. She is only the second woman director to do so, following Jane Campion for “The Piano.” “Alpha” will star Golshifteh Farahani (“The Patience Stone,” “Paterson”) and Tahar Rahim (“The Mauritanian,” “A Prophet”).
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‘The Sales Girl’ Review: A Mongolian Teen Grows Up Fast After Taking a Job in a Sex Shop
Peter Debruge Chief Film Critic Saruul is studying to be an engineer when she agrees to take the last job her cosmopolitan but still relatively conservative Mongolian parents would ever imagine their daughter doing: selling intimacy aids (of the vibrating, silicone and inflatable variety) in a basement-level sex shop. Technically, Saruul’s just filling in for a shy friend at school who trusts her to be discreet, but this temporary gig has a subtle yet life-changing impact on the title character, who looks like she could be 14 years old at first, but blossoms into a more self-aware young woman over “The Sales Girl’s” slightly overlong running time. The top prize winner of the New York Asian Film Festival, veteran director Sengedorj Janchivdorj’s umpteenth feature takes a frank, sex-positive approach to the titillating world in which it’s set. But that doesn’t make this an erotic film. Instead, “The Sales Girl” focuses mostly on the unlikely friendship between Saruul (Bayartsetseg Bayangerel) and her Russian-speaking boss Katya (Enkhtuul Oidovjamts), a surly ex-dancer who takes a linking to her naive new employee. In a funny way, the film shares the slightly edgy but ultimately sentimental vibe of certain underground comics (“Ghost World” comes to mind) or the work of American indie director Sean Baker, whose last four features (dating back to “Starlet,” the film this most resembles) have had the honesty to acknowledge the role sexuality plays in modern life and commerce.
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