Sundance Film Festival: Last News

The Hives have discussed the indie sleaze era, and how it was immortalised in the book and film Meet Me In The Bathroom.Meet Me In The Bathroom, Goodman’s 600-page oral history detailing the 00’s New York music scene was released back in 2017. The film version of the book, directed by Dylan Southern and Will Lovelace – who made LCD Soundsystem‘s Shut Up And Play The Hits documentary and concert movie – first premiered at the Sundance Film Festival back in January and released earlier this year.Speaking to NME for the latest interview in the In Conversation video series, the Swedish band’s frontman Howlin’ Pelle Almqvist discussed the “fucking cool” era, and how The Hives didn’t realise the power of the time until after it passed.“It’s funny that it’s now considered a ‘historical event’ and all that shit,” he said.

Marc Malkin Senior Film Awards, Events & Lifestyle Editor Brooke Shields came pretty close to starring in Stephen Frears’ 1988 period drama “Dangerous Liaisons” alongside John Malkovich, Glenn Close, Michelle Pfeiffer and Keanu Reeves. “They told me it came down to me and someone else,” Shields tells me. “They said the other person was this girl not many people knew about. It was Uma Thurman. At that time and that age, it felt so personal, but I’ve learned over time not to take it personally because ‘no’ outweighs ‘yes’ extensively in this business.” Released by Warner Bros., “Dangerous Liaisons” went on to be nominated for seven Oscars, eventually taking home the awards for adapted screenplay, costume design and production design. Christopher Hampton adapted the screenplay from his 1985 play “Les Liaisons dangereuses.” The $14 million film grossed $34.7 million at the box office.

Anna Tingley If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. “Pretty Baby: Brooke Shields,” a documentary about Brooke Shields and the sexual objectification she endured as a child actor, will release on Hulu on April 3. In the two-part documentary, which premiered at the 2023 Sundance Film Festival, the actor and model opens up for the first time about her earliest experiences in Hollywood. The film tracks her rise as a child advertising model to her sexualization in movies, starting at age 12, in “Pretty Baby” (1978), and then at 15, in “The Blue Lagoon” (1980). “I spent my life owing people things and doing whatever they wanted,” Shields says in a new teaser dropped Wednesday morning. “I finally asked myself, ‘What will I be if I don’t allow that anymore?'”

This is “a place of mountains and myths,” we’re told as a montage of Central Appalachian imagery fills the frame. The mists, buffalo, ferns, and flowing waters intercut with the coal-filled mountains and mining towns that grew up around them.

Ira Sachs prefers relationships of the doomed variety — tempestuous passions torn asunder, sometimes by external forces like capitalism, which complicated the search for a home through New York’s cutthroat real estate market in “Love Is Strange” and “Little Men.” His latest film — the sexy, frustrating, loose-yet-compact, altogether irresistible three-hander “Passages” — also concerns property contracts and a homeless protagonist. However, this one’s got nobody but himself to blame for that predicament, fluent as he is in the same toxic strain of amour fou that previously perfumed the air in “Keep the Lights On” and especially Sachs’ debut, “The Delta.” As in that film — also pitched at the admirably humble quotidian scale Sachs hasn’t felt the need to exceed in more than a quarter decade — “Passages” follows a bisexual chaos agent so wrapped up in his own narcissism that he can’t see where his self-exploration ends and insensitivity to those around him begins.

While it may seem niche to those outside of Texas, high school mariachi competitions are quite prolific in the Lonestar State. The teams give students a creative outlet, as well as an opportunity to pursue scholarships in college music.

In Greek mythology, it holds that for a time, gods and mortals mingled freely, creating demigods whose sole aim was to prove their worth so they might join their celestial kin. For the Greeks, the gods who ruled on mount Olympus formed the idealized version of humans—often possessing super strength to match their perfect physiques.

In Greek mythology, it holds that for a time, gods and mortals mingled freely, creating demigods whose sole aim was to prove their worth so they might join their celestial kin. For the Greeks, the gods who ruled on mount Olympus formed the idealized version of humans—often possessing super strength to match their perfect physiques.

“We can’t live in the past!” Rachel (Emilia Clarke) tells her husband Alvy (Chiwetel Ejiofor).  “Things are evolving!” She should know; she spends her days creating AI companions and coordinating automation (her latest big triumph appears to be a combination of virtual assistant, friend, and mood ring). But Alvy, as she puts it, “studies plants… and plant-like things,” taking horticulture students out to fig trees and saying things like, “The texture is completely different when it’s fresh from the tree.” READ MORE: 25 Most Anticipated Films At The Sundance Film Festival So it’s a real opposites-attract situation, the old-school luddite and the literal creator of artificiality, and there are therefore obvious disagreements over her rather unilateral decision to take advantage of her company’s offer to set her up at “The Womb Center” (“It is our hottest perk – we we just want to retain the best and brightest women”).

EXCLISIVE: Sony Pictures International Productions has acquired global rights to the award-winning comedy Americanish, marking the feature directorial debut of Iman Zawahry. Specifics as to plans for the pic’s distribution have not yet been disclosed.

We are just under two weeks away from the kickoff of the 2023 Sundance Film Festival. However, the folks at Sundance aren’t done announcing new additions to the festival lineup.

The Moldy Peaches are set to reunite next week for their first live show in over a decade at the Los Angeles premiere of Meet Me In The Bathroom.The duo – Adam Green and Kimya Dawson – last played together in 2011, and will get back together for a performance at the Fonda Theatre on October 27 as part of the LA launch of the new documentary.The Moldy Peaches star alongside The Strokes, Yeah Yeah Yeahs, LCD Soundsystem and more in the forthcoming adaptation of Lizzy Goodman’s book about the early ’00s indie scene of New York City, which hits screens across the US on November 8. The film will then be available to stream on Showtime starting November 25.

American Civil War and 52 years after the international slave trade was outlawed in the U.S., 110 African men, women, and children arrived on the shores of Alabama in a ship called Clotilda. The captives were sold to various plantations, and the vessel was set ablaze by Timothy Meaher, the man who had chartered the illegal expedition. 

Brent Lang Executive Editor of Film and MediaRoadside Attractions has acquired U.S. distribution rights to “Call Jane,” a historical drama about a group of women working to provide access to safe abortions.The film debuted at this year’s Sundance Film Festival, premiering at a time when the Supreme Court is debating Roe v.

Thandiwe Newton is opening up about the backlash, privilege, and guilt she has experienced as a fair-skinned Black actress navigating Hollywood and the UK film industry.

Alice begins with a blood-curdling scream. As the film comes into focus, the audience meets Alice (Keke Palmer), an enslaved woman on the run. Before her destination is revealed, the film pulls us back in time to a plantation in rural Georgia.

college before being thrust into the “real world.” The uncertainty ahead leads many of us to cling to those last joyous weeks with friends in a setting that has turned into something of a home. In Carey Williams’ outstanding Emergency, adapted from his short film of the same name, best friends and roommates Kunle (Donald Elise Watkins) and Sean (RJ Cyler) are about to embark on an epic night touring the school’s frat parties with hopes of making it into the Black Student Union’s Hall of Fame. However, what appears to be a comedy about Black men in their final weeks at their predominantly white college becomes a gripping commentary on racism and humanity.  Kunle and Sean could not be more different.

They Didn’t Have to Kill Him.” That’s the name of Aaron Gell’s 2018 article on which Abi Damaris Corbin’s debut feature film 892 is based. The hauntingly dark film centers on the real-life story of Lance Corporal Brian Brown Easley, who on a July day in 2017 walked into a Wells Fargo bank based in the suburbs of Atlanta and held it up, taking several hostages. In a stunning performance actor John Boyega, steps into the shoes of the desperate former Marine who, having exhausted all of his resources, made a desperate choice to get the money owed to him.

picked up by AppleTV+ for $15 million and like 2020’s big Sundance seller “Palm Springs,” in a few months everybody will be watching — and adoring — it. Raiff plays Andrew, a 22-year-old recent college grad who lives with his mom (Leslie Mann) and stepdad (Brad Garrett) and still shares a bedroom with his little brother David (Evan Assante). A regular New Jersey Peter Pan. Charismatic Andrew has no life prospects and is working at a fast food joint called Meat Sticks when some local mothers realize he’d be great at livening up bar mitzvahs — getting kids on the dance floor, telling jokes and, on occasion, flirting with the parents.At one party he’s running, Andrew convinces an autistic girl named Lola (Vanessa Burghardt) to dance with him and then starts chatting up her mom, Domino (Dakota Johnson).

God’s Country opens, a woman walks into a dimly lit crematorium. This initial scene snaps the eerie tone of Julian Higgins’s film into place. As the world of the film opens up, the viewers learn that the lone woman at the crematorium is Sandra (Thandiwe Newton).

COVID-19) pandemic, modern-day motherhood and the unequal burden of parenting that often sits with women has never been more apparent. However, many women, particularly women of color who come to this country, continue to raise the children of affluent white people. In Nikyatu Jusu’s feature film debut, Nanny, one caregiver grapples with the challenges of her position while striving for her version of the American dream. Aisha (Anna Diop) is a Senegalese immigrant finding her footing in New York City.