Neon: Last News

As the new poster for his forthcoming movie “Presence” suggests, Academy Award-winning filmmaker Steven Soderbergh has done it all and then some. The eclectic and prolific filmmaker has pretty much attempted every genre: made popcorn entertainment like the “Ocean’s” and “Magic Mike” trilogies, acclaimed Oscar-winning dramas (“Traffic,” “Erin Brockovich”), comedies, (“The Informant”) compelling and comedic crime dramas (“Out Of Sight,” “Logan Lucky”), thrillers of all stripes (“Contagion,” “Unsane”), and low-budget arthouse indies like his career-making debut, “Sex, Lies And Videotape.” And for “Presence,” the filmmaker tackles the sub-genre of the eerie ghost movie, perhaps the closest he’s ever come to making a horror film outside of “Unsane.” READ MORE: ‘Presence’ Review: Steven Soderbergh’s Unsettling Ghost Story Menace Is Memorable & Magical [Sundance] And Soderbergh tends to get on creative riffs with writers he does repeat business with.

Sydney Sweeney accidentally got fake blood in her eyes while filming one of the most gruesome scenes. “We wanted to do everything practically,” Mohan told Indiwire, revealing that the incident took place on the final day on set.“The biggest challenge was on the last take,” the director told the outlet.

Neon is on such a tear this year. After the Oscar-nominated success of “Anatomy Of A Fall,” “Perfect Days,” “Robot Dreams,” and the critically acclaimed “Ferrari,” and new films like “Mother’s Instinct” on the way, the indie company shows no signs of slowing down.

Sometimes, a cinematographer works enough with an actor that when they’re set to do their directorial debut, that actor is in. That seems to be the case with “Mother’s Instinct,” the directorial debut of well-renowned French DP Benoît Delhomme.

It’s crazy to think that it’s been nine years since the release of Ava DuVernay’s Oscar-nominated film, “Selma.” And over that time, while she has produced quite a bit and even directed an acclaimed limited series, DuVernay has only released one feature film, the underwhelming “A Wrinkle in Time.” However, it would appear the filmmaker is returning in a big, big way with her new film, “Origin.” READ MORE: ‘Origin’ First Look: Ava DuVernay’s Adaptation Of ‘Caste’ With Aunjanue Ellis, Jon Bernthal & Vera Farmiga Premieres At Venice On September 6 As seen in the new teaser for “Origin,” the film is inspired by the life of Pulitzer Prize-winning author Isabel Wilkerson as she writes the book, “Caste: The Origin of Our Discontents.” The journey to bring that book to life finds Wilkerson traveling all over the world and experiencing various cultures.  Continue reading ‘Origin’ Teaser: Ava DuVernay’s New Drama Is Picked Up By NEON & Will Hit Theaters Later This Year at The Playlist.

Although he is rightly judged as being in the vanguard of British independent cinema, Mark Jenkin nonetheless seems out of place in such company. Unlike his contemporaries—Peter Strickland, Lynne Ramsay, Andrea Arnold, Clio Barnard, and Jonathan Glazer, among others—he is a strict formalist, creating expressions through the rhythms and combinations of images and sounds rather than through conventional narratives or theatrical gestures.

Not yet thirty years old, Mia Goth has already collaborated with several world-renowned filmmakers for her willingness to follow their most demented muses. Her girlish appearance strikes a shocking contrast with the atrocity exhibitions that she gravitates toward: eagerly taking to sexual grooming in Lars Von Trier’s “Nymphomaniac;” undergoing forcible insemination and grisly spaghettification with Claire Denis in “High Life;” becoming an insane asylum’s incestuous princess for Gore Verbinski in “A Cure for Wellness;” witnessing her own disembowelment as part of the orgiastic blood ritual Luca Guadagnino that’s the grand finale to “Suspiria;” manifesting a century of madness for Ti West’s in-progress trio of period pieces of “X,” “Pearl,” and the upcoming “Maxxxine.” And so it’s no surprise that Goth’s latest outing is another twisted affair: Brandon Cronenberg‘s “Infinity Pool,” which takes place at a Mediterranean beach resort that hides a violent and depraved sub-culture.

It’s a bit pointless complaining about ignored or passed-over Oscar-worthy films, but if one were going to do such a thing, a pretty damn valid complaint would be French filmmaker Céline Sciamma’s “Portrait of A Lady On Fire” being looked over by the Academy in the 2019/2020 season. ironically, that’s the same year that NEON, the company behind ‘Portrait,’ defeated the odds, surpassed the giants with more money around then, and won Best Picture for “Parasite.” Perhaps it was a combination of NEON having to put all their eggs in one basket, sacrificing another, and the Academy just seemingly over the moon about Bong Joon-Ho’s masterful film.

Nicholas Cage has done so many oddball indie projects over the past ten years, it’s hard to keep track of them all. But the upcoming “Pig,” directed by first-timer Michael Sarnoski, has arguably generated more buzz than any Cage vehicle since 2018’s “Mandy.” And it looks a good deal more grounded.

With “Parasite” just arriving last year, we’re still going to have to wait a bit longer for a new Bong Joon Ho feature film. That being said, NEON has decided that now is the best time to re-release Bong’s crime drama, “Memories of Murder,” to further help the American public fall in love with the South Korean filmmaker’s works.

Céline Sciamma’s “Portrait of a Lady on Fire” will begin streaming on Hulu on Friday, March 27, the streamer announced. Neon and Hulu acquired the movie out of the Cannes Film Festival in May, where it premiered in competition and won the Queer Palm and best screenplay.