Exclusive: ‘Peaky Blinders’ and ‘Gangs of London’ star Joe Cole and ‘True Spirit’ and ‘Titans’ actor Teagan Croft have both just wrapped contemporary neo-noir thriller Override, the fourth feature from directing duo Natasha Merkulova and Alexey Chupov. It marks the English-language debut for the Russian helmers, whose Captain Volkonogov Escaped played in Venice’s Competition strand in 2021.
Paris-based sales and production outfit Charades has boarded international sales for title, which was shot in L.A. in March, while AC Independent and WME Independent will co-represent North American rights for the film. The project will be launched to buyers in Cannes next month.
Override, which is currently in post-production, follows Ron Camp (Cole), a 31-year-old taxi driver in L.A. and Becca (Croft), his 16-year-old passenger, as they are plunged into a modern-day nightmare. Unaware of Ron’s identity as a spree killer, Becca becomes entangled in a series of terrifying events.
Paris-based sales and production outfit Charades has boarded international sales for title, which was shot in L.A. in March, while AC Independent and WME Independent will co-represent North American rights for the film. The project will be launched to buyers in Cannes next month.
Override, which is currently in post-production, follows Ron Camp (Cole), a 31-year-old taxi driver in L.A. and Becca (Croft), his 16-year-old passenger, as they are plunged into a modern-day nightmare. Unaware of Ron’s identity as a spree killer, Becca becomes entangled in a series of terrifying events.
- 4/25/2024
- by Diana Lodderhose
- Deadline Film + TV
LevelK has boarded “The Invisible Fight,” Estonian director Rainer Sarnet’s kung fu comedy set in an Orthodox monastery in the former Soviet Union. The film world premieres Aug. 11 in the main competition of the Locarno Film Festival.
“The Invisible Fight” is set in 1973 on the Soviet-Chinese border, where Private Rafael is on guard duty when his border post is attacked by a band of Chinese warriors schooled in the ancient art of kung fu. The only one to miraculously survive, Rafael, is fascinated by the long-haired, black-clad, kung fu hippies flying through the treetops while blasting forbidden Black Sabbath music from their portable radio. He’s suddenly struck by a revelation: he, too, wants to become a kung fu warrior.
Faith leads Rafael to an Orthodox monastery where the black-clad monks do their training, but his road to achieving the almighty power of humility required is long, winding and full of adventures.
“The Invisible Fight” is set in 1973 on the Soviet-Chinese border, where Private Rafael is on guard duty when his border post is attacked by a band of Chinese warriors schooled in the ancient art of kung fu. The only one to miraculously survive, Rafael, is fascinated by the long-haired, black-clad, kung fu hippies flying through the treetops while blasting forbidden Black Sabbath music from their portable radio. He’s suddenly struck by a revelation: he, too, wants to become a kung fu warrior.
Faith leads Rafael to an Orthodox monastery where the black-clad monks do their training, but his road to achieving the almighty power of humility required is long, winding and full of adventures.
- 8/9/2023
- by Christopher Vourlias and Marta Balaga
- Variety Film + TV
An executioner has 24 hours to atone for his sins in Captain Volkonogov Escaped, an inventive and disturbing Venice Film Festival competition entry from Russian writer-directors Natasha Merkulova and Aleksey Chupov. This married couple finished their screenplay in lockdown, and the result is both nightmarish and dreamlike.
Set in 1938, it presents a stylized version of St Petersburg that feels more like a movie dystopia than a historical drama. But the events it draws from are terrifyingly real. Volkonogov (Yuri Borisov) is a faithful Ussr enforcer who goes on the run, fearing for his life, after his colleagues are questioned by their superiors. Appearing in a vision, his dead friend tells him to seek forgiveness from the families of all the people he had a part in killing — innocents who were tortured to extract fake confessions.
Stealing the relevant files, Volkonogov tracks down each relative and demands to be forgiven. Initially, he...
Set in 1938, it presents a stylized version of St Petersburg that feels more like a movie dystopia than a historical drama. But the events it draws from are terrifyingly real. Volkonogov (Yuri Borisov) is a faithful Ussr enforcer who goes on the run, fearing for his life, after his colleagues are questioned by their superiors. Appearing in a vision, his dead friend tells him to seek forgiveness from the families of all the people he had a part in killing — innocents who were tortured to extract fake confessions.
Stealing the relevant files, Volkonogov tracks down each relative and demands to be forgiven. Initially, he...
- 9/8/2021
- by Anna Smith
- Deadline Film + TV
In The County, Rams writer/ director Grímur Hákonarson gives us another slice of rural Icelandic life in this stunning, heartbreaking and at times deliciously playful drama. Written by Hákonarson and with a stunning cinematography courtesy of Mart Taniel, the film tells the story of a woman’s solitary fight against corruption and injustice in her farming community.
Middle-aged couple Inga (Arndís Hrönn Egilsdóttir) and Reynir (Hinrik Ólafsson) run a small dairy fam in one of the most remote areas of Iceland. Recently, however, the couple have struggled to keep afloat amidst mounting debts and a powerful local cooperative breathing down their necks. For years the local farming co-op has had a say on where farmers can buy or sell their produce, leaving them almost with no profit ands unable to prosper.
When Reynir dies suddenly leaving huge debts and a lot of unanswered questions behind, Inga learns of the true...
Middle-aged couple Inga (Arndís Hrönn Egilsdóttir) and Reynir (Hinrik Ólafsson) run a small dairy fam in one of the most remote areas of Iceland. Recently, however, the couple have struggled to keep afloat amidst mounting debts and a powerful local cooperative breathing down their necks. For years the local farming co-op has had a say on where farmers can buy or sell their produce, leaving them almost with no profit ands unable to prosper.
When Reynir dies suddenly leaving huge debts and a lot of unanswered questions behind, Inga learns of the true...
- 5/18/2020
- by Linda Marric
- HeyUGuys.co.uk
“When you fall at the beginning of the journey, it will be a good journey,” says genial producer Grímar Jónsson of Netop Films, quoting an old Icelandic proverb. He’s referring to the emergency tooth extraction required by ace Estonian cinematographer Mart Taniel (“November”) on the first day of the shoot of “The County,” the much-anticipated new film from “Rams” helmer Grímur Hákonarson. Luckily, the main shooting location of the Iceland-Denmark-Germany-France co-production was just two hours from Reykjavik and Jónsson’s helpful dentist.
Like “Rams,” “The County” probes a deeply rooted rural culture that is closely connected to the Icelandic national spirit. The story centers on Inga (Arndís Hrönn Egilsdóttir), a middle-aged widow, who must learn to be self-sufficient after the accidental death of her dairy farmer husband. She starts a new life on her own terms and rises up against the corruption and injustice in her community.
Jan Naszewski...
Like “Rams,” “The County” probes a deeply rooted rural culture that is closely connected to the Icelandic national spirit. The story centers on Inga (Arndís Hrönn Egilsdóttir), a middle-aged widow, who must learn to be self-sufficient after the accidental death of her dairy farmer husband. She starts a new life on her own terms and rises up against the corruption and injustice in her community.
Jan Naszewski...
- 5/10/2018
- by Alissa Simon
- Variety Film + TV
Jan Naszewski’s New Europe Film Sales has closed a host of presales on Grimur Hakonarson’s comedy drama “The County.” The Icelandic director’s last film, “Rams,” won best film in Un Certain Regard at 2015’s Cannes Film Festival, and sold to more than 50 countries.
“The County” was sold to Curzon in U.K./Ireland, Palace in Australia/New Zealand, Xenix in Switzerland, Imagine in Benelux, Vertigo in Hungary, Strada in Greece and Scanbox in Scandinavia. Haut et Court will release the film in France and Sena in Iceland.
“The County” is the story of Inga, a middle-aged dairy farmer whose husband dies. “She decides to start a new life on her own terms and rises up against corruption and injustice in her community,” according to a statement.
The film, which has just wrapped shooting and will premiere next year, stars Arndis Hronn Egilsdottir (“Sparrows”) and Sigurdur Sigurjonsson. It was lensed by Mart Taniel,...
“The County” was sold to Curzon in U.K./Ireland, Palace in Australia/New Zealand, Xenix in Switzerland, Imagine in Benelux, Vertigo in Hungary, Strada in Greece and Scanbox in Scandinavia. Haut et Court will release the film in France and Sena in Iceland.
“The County” is the story of Inga, a middle-aged dairy farmer whose husband dies. “She decides to start a new life on her own terms and rises up against corruption and injustice in her community,” according to a statement.
The film, which has just wrapped shooting and will premiere next year, stars Arndis Hronn Egilsdottir (“Sparrows”) and Sigurdur Sigurjonsson. It was lensed by Mart Taniel,...
- 5/7/2018
- by Leo Barraclough
- Variety Film + TV
Full list of nominations: Theatrical Release Roger Deakins, Asc, Bsc for “Blade Runner 2049” Bruno Delbonnel, Asc, Afc for “Darkest Hour” Hoyte van Hoytema, Asc, Fsf, Nsc for “Dunkirk” Dan Laustsen,...
- 1/9/2018
- by Ryan Adams
- AwardsDaily.com
The American Society of Cinematographers (Asc) feature film nominees tends to lean toward big-scale movies, and this year is no exception. Their top five include frontrunner Roger Deakins for his stunning visuals in “Blade Runner 2049” as well as Rachel Morrison, who photographed “Mudbound.” Left out were viable but smaller-scale contenders “Call Me By Your Name” and “The Post.”
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
- 1/9/2018
- by Anne Thompson
- Thompson on Hollywood
The American Society of Cinematographers (Asc) feature film nominees tends to lean toward big-scale movies, and this year is no exception. Their top five include frontrunner Roger Deakins for his stunning visuals in “Blade Runner 2049” as well as Rachel Morrison, who photographed “Mudbound.” Left out were viable but smaller-scale contenders “Call Me By Your Name” and “The Post.”
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
- 1/9/2018
- by Anne Thompson
- Indiewire
Chicago – The 16th Edition of the Tribeca Film Festival continues through April 30th, 2017, but the main jury awards were announced yesterday at Awards Night ceremonies. “Keep the Change,” directed by Rachel Israel, was award Best U.S. Narrative Feature. All of the 2017 winners represented a wide range of topics, from inspirational to entertaining, and featured veteran as well as up-and-coming creators and talents from around the world. Worth noting, and a first for Tribeca, all five feature categories winners are from women-directed films.
Awards were distributed in the following feature film competition categories – U.S. Narrative, International Narrative, Documentary, New Narrative Director, The Albert Maysles New Documentary Director, and the Nora Ephron Prize, honoring a woman writer or director. Awards were also given in the short film categories – Narrative, Documentary, Student Visionary and Animation. For the fifth year, Tribeca awarded innovation in storytelling through its Storyscapes Award for immersive (Vr) storytelling.
Awards were distributed in the following feature film competition categories – U.S. Narrative, International Narrative, Documentary, New Narrative Director, The Albert Maysles New Documentary Director, and the Nora Ephron Prize, honoring a woman writer or director. Awards were also given in the short film categories – Narrative, Documentary, Student Visionary and Animation. For the fifth year, Tribeca awarded innovation in storytelling through its Storyscapes Award for immersive (Vr) storytelling.
- 4/28/2017
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The Tribeca Film Festival has announced the winners of its 16th edition, with “Keep the Change” (U.S. Narrative), “Son of Sofia” (International Narrative) and “Bobbi Jene” (Documentary) taking home the top prizes. 97 features and 57 shorts comprised the main lineup of this year’s fest, which began on April 19 and ends on April 30.
“It is more important than ever to celebrate artists both in front of and behind the camera who have the unique ability to share different viewpoints to inspire, challenge and entertain us,” said Jane Rosenthal, Tribeca’s executive chair and co-founder. “The winning creators from across the Festival program shared stories that did exactly that, and we are honored to recognize them tonight. And how wonderful is it that the top awards in all five feature film categories were directed by women.”
Full list of winners below.
The 2017 IndieWire Tribeca Bible: Every Review, Interview and News Item Posted During the Festival
U.
“It is more important than ever to celebrate artists both in front of and behind the camera who have the unique ability to share different viewpoints to inspire, challenge and entertain us,” said Jane Rosenthal, Tribeca’s executive chair and co-founder. “The winning creators from across the Festival program shared stories that did exactly that, and we are honored to recognize them tonight. And how wonderful is it that the top awards in all five feature film categories were directed by women.”
Full list of winners below.
The 2017 IndieWire Tribeca Bible: Every Review, Interview and News Item Posted During the Festival
U.
- 4/27/2017
- by Michael Nordine
- Indiewire
I've only just now caught wind of a one-time-only event that took place in the Port of Tallinn last Thursday, 60 Seconds of Solitude in Year Zero, via Alison Nastasi at Movies.com: "An international collective of directors… contributed their shorts to the single 35mm film anthology that was screened for an audience one time — as part of Estonia's 2011 European Capital of Culture celebration — and then burned to the ground (along with the screen itself). Why, exactly? The project's website describes it as 'flying in the face of the cynicism of marketing, production, business operators, and the moral majority … dedicated to preserving freedom of thought in cinema.'" The roster of participating directors and artists is pretty impressive:
Brian Yuzna (USA), Michael Glawogger (Austria), Aku Louhimies (Finland), Ken Jacobs (USA), Gustav Deutsch (Austria), Tom Tykwer (Germany), Mark Boswell (USA), Malcolm Le Grice (UK), Aki Kaurismäki (Finland), Bruce McClure (UK), Mika Taanila...
Brian Yuzna (USA), Michael Glawogger (Austria), Aku Louhimies (Finland), Ken Jacobs (USA), Gustav Deutsch (Austria), Tom Tykwer (Germany), Mark Boswell (USA), Malcolm Le Grice (UK), Aki Kaurismäki (Finland), Bruce McClure (UK), Mika Taanila...
- 12/27/2011
- MUBI
Director: Veiko Õunpuu Writer(s): Veiko Õunpuu Starring: Taavi, Eelmaa, Ravshana Kurkova, Tiina Tauraite, Sten Ljunggren The Temptation of St. Tony opens with death -- a funeral procession to be exact. Then, a car crash; which at first seems random and absurd, but in the grand scheme of this surrealist interlocking of events it’s significance is revealed when one of the survivors of the car crash drips blood on the immaculate interior of Tony’s (Taavi Eelmaa) new Mercedes Benz. This causes Tony to drive over a black dog, which prompts Tony to discover a stash of dismembered body parts, which delivers Tony to the local police department where he meets a mysterious woman (Ravshana Kurkova). The chain of events continues for nearly two hours... Tony, the frizzy-haired manager of a local factory, waxes to tremendous existential lengths about his -- and mankind’s -- reason for being.
- 9/20/2010
- by Don Simpson
- SmellsLikeScreenSpirit
Year: 2009
Directors: Veiko Õunpuu
Writers: Veiko Õunpuu
IMDb: link
Trailer: link
Review by: oblivion
Rating: 8 out of 10
"Traversing the Depths of Benevolence"
Strange, deliberate, cerebral, perplexing, brilliant…any of these words could be used to describe The Temptation of St. Tony. Written and directed by Veiko Õunpuu, the award winning Estonian mastermind behind 2007’s Sugisball, this film is a beautifully shot, highly allegorical piece of storytelling that dauntlessly explores the value of goodness and what it means to be good. It is an effort rich with metaphor and artistry that solidifies Ounpuu’s reputation as a visionary director capable of conveying a story that is uncompromising in its piercing gaze into human nature.
The story is, perhaps, loosely based upon the art of Hieronymus Bosch and the writing of Flaubert, from which the movie takes its name (though it modernizes Anthony to Tony). Furthering its link to religious narratives, it...
Directors: Veiko Õunpuu
Writers: Veiko Õunpuu
IMDb: link
Trailer: link
Review by: oblivion
Rating: 8 out of 10
"Traversing the Depths of Benevolence"
Strange, deliberate, cerebral, perplexing, brilliant…any of these words could be used to describe The Temptation of St. Tony. Written and directed by Veiko Õunpuu, the award winning Estonian mastermind behind 2007’s Sugisball, this film is a beautifully shot, highly allegorical piece of storytelling that dauntlessly explores the value of goodness and what it means to be good. It is an effort rich with metaphor and artistry that solidifies Ounpuu’s reputation as a visionary director capable of conveying a story that is uncompromising in its piercing gaze into human nature.
The story is, perhaps, loosely based upon the art of Hieronymus Bosch and the writing of Flaubert, from which the movie takes its name (though it modernizes Anthony to Tony). Furthering its link to religious narratives, it...
- 12/24/2009
- QuietEarth.us
Year: 2007
Directors: Veiko Õunpuu
Writers: Veiko Õunpuu & Mati Unt (novel)
IMDb: link
Trailer: link (Nsfw)
Review by: quietearth
Rating: 7 out of 10
A film which is revealed in two simple quotes, one at the start, and one at the end, Sugisball felt a lot like my time spent in New York. I'd look out the window or walk down the street and wonder what all those lives were doing crammed into those little boxes stacked atop one another, and this film gave me a glimpse. Starting with a flyover of row upon row of gloomy, nondescript apartment blocs which to me, implied a dead end, Sugisball is a stunningly shot Estonian drama which follows the lives of multiple characters as they try to manage existence.
I'm not going to reveal the last quote, but I'll share the telling first, told by an outside character at a literature conference to one of our main characters,...
Directors: Veiko Õunpuu
Writers: Veiko Õunpuu & Mati Unt (novel)
IMDb: link
Trailer: link (Nsfw)
Review by: quietearth
Rating: 7 out of 10
A film which is revealed in two simple quotes, one at the start, and one at the end, Sugisball felt a lot like my time spent in New York. I'd look out the window or walk down the street and wonder what all those lives were doing crammed into those little boxes stacked atop one another, and this film gave me a glimpse. Starting with a flyover of row upon row of gloomy, nondescript apartment blocs which to me, implied a dead end, Sugisball is a stunningly shot Estonian drama which follows the lives of multiple characters as they try to manage existence.
I'm not going to reveal the last quote, but I'll share the telling first, told by an outside character at a literature conference to one of our main characters,...
- 6/23/2009
- QuietEarth.us
Estonian Film Foundation
Strong on atmosphere and angst, the multistrand drama Autumn Ball takes its time bringing together its orbiting characters, a half-dozen aching souls in a housing complex on the outskirts of Tallinn, Estonia. Although it sometimes suffers from ennui overload, the film gets under the skin, its darkly comic observations filtered through Tarkovsky, Kieslowski and Cassavetes but alive with their own bracing melancholy. Winner of the Horizons Award at the Venice Film Festival and a competition selection at the recent AFI Fest, the film is sure to make an impression as it travels the fest circuit.
Writer-director Veiko Ounpuu's adaptation of Sugisball (Autumn Ball), a 1979 novel by Mati Unt, a leading literary figure of Soviet-era Estonia, is set in the pre-independence 1980s. The future-forward high-rise suburb at the center of the story, abutted by desolate fields, stands as a dated monument to the crumbling USSR. Striking lensing by Mart Taniel makes the most of the cold natural light, penetrating the facades of the well-played characters and the sad spaces they inhabit. Ulo Krigul's brooding score is a key asset as well, especially in the film's wordless stretches, like the powerful breakup scene that opens the film.
Writer Mati (Rain Tolk) stands on his apartment balcony as though poised between life and death. His farewell hug to his departing wife (Mirtel Pohla) turns into a desperate attack. Left alone, he soon embarks on a binge. When not at his typewriter in a room that appears to be constructed of books, he's out making a fool of himself at clubs.
Alcohol comforts and undoes many of the characters. Fueled by brandy, self-consciously fashionable architect Maurer (Juhan Ulfsak) is heartlessly honest with his unhappy wife, Ulvi (Tiina Tauraite). A single mother (Maarja Jakobson) fends off the blunt overtures of strangers, calming her nerves with dainty glasses of liqueur. Sobbing over the "forbidden love" of The Thorn Birds, she's unaware that her young daughter (Iris Persson) is drawn to Kaski (Sulevi Peltola), a friendless barber.
For Theo (Taavi Eelmaa), a doorman at a depressing red-curtained nightclub, the opiate of choice is sex. He tallies his one-night stands -- first name and astrological sign -- adding numbers 210 and 211 after a spirited threesome. But like most everything here, the encounter ends on a note of disconnection. In their botched, often cruel encounters, the characters are often monstrous. In their aloneness -- whether writing, dancing solo or eating breakfast -- they become more human.
Strong on atmosphere and angst, the multistrand drama Autumn Ball takes its time bringing together its orbiting characters, a half-dozen aching souls in a housing complex on the outskirts of Tallinn, Estonia. Although it sometimes suffers from ennui overload, the film gets under the skin, its darkly comic observations filtered through Tarkovsky, Kieslowski and Cassavetes but alive with their own bracing melancholy. Winner of the Horizons Award at the Venice Film Festival and a competition selection at the recent AFI Fest, the film is sure to make an impression as it travels the fest circuit.
Writer-director Veiko Ounpuu's adaptation of Sugisball (Autumn Ball), a 1979 novel by Mati Unt, a leading literary figure of Soviet-era Estonia, is set in the pre-independence 1980s. The future-forward high-rise suburb at the center of the story, abutted by desolate fields, stands as a dated monument to the crumbling USSR. Striking lensing by Mart Taniel makes the most of the cold natural light, penetrating the facades of the well-played characters and the sad spaces they inhabit. Ulo Krigul's brooding score is a key asset as well, especially in the film's wordless stretches, like the powerful breakup scene that opens the film.
Writer Mati (Rain Tolk) stands on his apartment balcony as though poised between life and death. His farewell hug to his departing wife (Mirtel Pohla) turns into a desperate attack. Left alone, he soon embarks on a binge. When not at his typewriter in a room that appears to be constructed of books, he's out making a fool of himself at clubs.
Alcohol comforts and undoes many of the characters. Fueled by brandy, self-consciously fashionable architect Maurer (Juhan Ulfsak) is heartlessly honest with his unhappy wife, Ulvi (Tiina Tauraite). A single mother (Maarja Jakobson) fends off the blunt overtures of strangers, calming her nerves with dainty glasses of liqueur. Sobbing over the "forbidden love" of The Thorn Birds, she's unaware that her young daughter (Iris Persson) is drawn to Kaski (Sulevi Peltola), a friendless barber.
For Theo (Taavi Eelmaa), a doorman at a depressing red-curtained nightclub, the opiate of choice is sex. He tallies his one-night stands -- first name and astrological sign -- adding numbers 210 and 211 after a spirited threesome. But like most everything here, the encounter ends on a note of disconnection. In their botched, often cruel encounters, the characters are often monstrous. In their aloneness -- whether writing, dancing solo or eating breakfast -- they become more human.
- 11/14/2007
- The Hollywood Reporter - Movie News
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