Oscar Wilde's magical stories for children have often been dismissed as lesser works, but as examples of how important imagination is to us all – young and old alike – they are a delight
"Far off, like a perfect pearl, one can see the city of God. It is so wonderful that it seems as if a child could reach it in a summer's day. And so a child could. But with me and such as I am it is different. One can realise a thing in a single moment, but one loses it in the long hours that follow … "
– Oscar Wilde, "De Profundis"
Oscar Wilde wrote "De Profundis" in Reading gaol where he was serving two years hard labour for being himself; he was homosexual. He was sent to prison in 1895 after one of the most notorious trials in English history. Wilde's fatal amour, Lord Alfred Douglas, was son of the Marquess of Queensberry,...
"Far off, like a perfect pearl, one can see the city of God. It is so wonderful that it seems as if a child could reach it in a summer's day. And so a child could. But with me and such as I am it is different. One can realise a thing in a single moment, but one loses it in the long hours that follow … "
– Oscar Wilde, "De Profundis"
Oscar Wilde wrote "De Profundis" in Reading gaol where he was serving two years hard labour for being himself; he was homosexual. He was sent to prison in 1895 after one of the most notorious trials in English history. Wilde's fatal amour, Lord Alfred Douglas, was son of the Marquess of Queensberry,...
- 10/17/2013
- by Jeanette Winterson
- The Guardian - Film News
Clio Barnard's The Arbor charted the troubled life of working-class playwright Andrea Dunbar. Her new film, The Selfish Giant, about two boys who scavenge to survive on a Bradford estate, has been called 'a Kes for the 21st century'. Here she talks about the appeal of the margins
Back in 2010, when Clio Barnard was shooting her first feature film, The Arbor, on the Buttershaw estate in Bradford, a young local lad caught her eye. "I first saw him when he was just 14, when I went to Buttershaw to do a workshop at a school," she recalls. "There was just something about him that was different from the other lads I met. He was a bit volatile, but enigmatic too and he really made his presence felt. When I went to Brafferton Arbor [the street on which The Arbor is set] for the first time, there he was, wearing his rigger boots and really dirty clothes. It was pure attitude,...
Back in 2010, when Clio Barnard was shooting her first feature film, The Arbor, on the Buttershaw estate in Bradford, a young local lad caught her eye. "I first saw him when he was just 14, when I went to Buttershaw to do a workshop at a school," she recalls. "There was just something about him that was different from the other lads I met. He was a bit volatile, but enigmatic too and he really made his presence felt. When I went to Brafferton Arbor [the street on which The Arbor is set] for the first time, there he was, wearing his rigger boots and really dirty clothes. It was pure attitude,...
- 10/12/2013
- by Sean O'Hagan
- The Guardian - Film News
Late as usual. People are attending Mipcom in Cannes and in November Afm in Santa Monica, and I’m only now getting around to writing about my own private Toronto. I chose films I would not be able to see soon in a theater near me and I chose films because my schedule permitted me to see them. Occasionally I chose films my friends were going to and that happened when my time was not demanding other things be done.
I wish I could have seen 100 other films too but for some reason or another I could not fit them in.
I moderated a wonderful panel (and we did blog on that!) on international film financing with Sffs’ Ted Hope, UTA’s Rena Ronson, Revolution’s Andrew Eaton, and Hollywood-based Cross Creek’s Brian Oliver, and Paul Miller, Head of Film Financing, from the Doha Film Institute, Qatar's first international organization dedicated to film financing, production, education and two film festivals.
I also spoke with Toronto Talent Lab filmmakers and then I filled my days with films – I did get an interview with Gloria’s director Sebastian Lelio and Berlin Best Actress winner Paulina Garcia and with Marcela Said, director of The Summer of Flying Fish but mostly I watched film after film after film – up to five a day, just like in the old days when I had to do it for my acquisitions jobs. This was pure pleasure. Friends would meet before the film, we would watch and disperse. And we would meet again at the cocktail hour or the dinner hour and then disperse again.
My partner Peter had lots of meetings with the Talent of Toronto from the Not Short on Shorts and the Talent Lab Mentoring Programs.
Parties like the Rotterdam-Screen International party gave us the chance to catch up with our Dutch friends whom we have not seen for the last two years. Ontario Media Development Corporation’s presenting the International Financing Forum luncheon gave us the chance to talk to lots of upcoming filmmakers and old friends again who were mentoring them. The panel Forty Years On: Women’s Film Festivals Today, moderated by Kay Armatage, former Tiff programmer, Professor Emeritus University of Toronto, and featuring Debra Zimmerman, Executive Director of Women Make Movies, NYC, Melissa Silverstein, Do-Fojnder an dArtistic Director of the Athena Film Festival in NYC and blogger of Women in Hollywood, So-In Hong, Director of Programming of the International Women’s Film Festival in Seoul had a rapport and didn’t hesitate to challenge each other. It felt like a party even though the subject was quite serious. The SXSW party was crowded as always, filled with everyone we could possibly know. It is always a great party we all want to attend.
One of the great dinners was that of The Creative Coalition Spotlight Awards Dinner honoring Alfre Woodard (12 Years a Slave), Hill Harper (1982, CSI: NY), Sharon Leal (1982), Matt Letscher (Scandal, The Carrie Diaries), Brenton Thwaites (Oculus, Maleficient), Tommy Oliver (1982, Kinyarwanda – I am a great fan of Tommy’s!), Tom Ortenberg (CEO, Open Road Films which has a coventure with Regal Theaters and AMC Theaters recently acquired by the richest man in China), and David Arquette (The Scream series). Our hostess, Robin Bronk is so welcoming and so dedicated to furthering the cause of universal education as a human right, education in the arts as a must. I admire her presence and her good work.
Here is a list of the great (and not so great, but never bad) films I got to see. I also list those I continue to hear about even now. I do not list all the films which were picked up during the festival and later. For that, you can go to SydneysBuzz.com and buy the Fall Rights Roundup 2013 and see all films whose rights were acquired (and announced) and by whom with links to all companies and Cinando for further research. For buyers it will, by deduction, show what is still available for Afm and for programmers, it will show who is in charge of the film for specific territories. The second edition will be issued two weeks after Afm.
One of the first films I saw and still retaining its place as one of my favorites was the documentary Finding Vivian Maier which begins with the discovery of photographs by an unknown woman named Vivian Maier by filmmaker John Maloof. As the mystery of this woman is uncovered, the audience is treated to her stunning work and the story of who she was.
One of my favorite films was by one of my favorite directors, Lucas Moodyson. We Are The Best (Isa: Trust Nordisk) was a great surprise, the story of three teeny-bopper punk-influenced girls who loved getting into unusual situations. It was loving and fun, darling and funny. I would take my children to see it and would delight in seeing it again. It was the biggest surprise for me. I can see why Magnolia snapped it up for the U.S. I thank programmer Steve Gravenstock for giving me the ticket for this film which I would have missed otherwise.
I had missed Jodorowsky’s Dune in Cannes. I am a great fan of El Topo and was eager to see this film. I was surprised at the elegance and skill of Jodorowsky in explaining his vision. Afterward, Gary Springer, our favorite publicist, arranged a wonderful reception at a classic comic book store where we loaded up on some fascinating graphic novels and Gary showed us his depiction on an old issue of Mad Magazine discussing the making of Jaws which he was in. picture here.
A totally unique and unexpected film about the African Diaspora, Belle, written and directed by Amma Asante was not talked about much to my surprise, perhaps because Fox Searchlight acquired all rights worldwide from Bankside before the festival. It is a stunningly beautiful British period piece of the 18th century about a mixed race aristocratic beauty.
My favorite film, on a par with The Patience Stone last year was Bobo (Isa: Wide) by Ines Oliveira starring Paula Garcia Aissato Indjai, produced by my friend Fernando Vendrell who gave me a ticket when I could not get one myself. This story of a woman who does nothing except go to work is forced to accept a claning woman and her young sister from Guinea-Bissau. Together they face down their demons. I love the cross-cultural understanding which results in their shared situations. I recently saw Mother of George and found the same warm connection across great cultural divides, though this one was of generations.
I wish I could have seen Pays Barbare/ Barbaric Land, the Italian/ French doc in Wavelengths about Mussolini’s attempted subjugation of Ethiopia (the only country in Africa never colonized). It sounds like great political poetry.
1982 which had previously won the prize of the jury I served on for Us Works in Progress held in July at the Champs Elysees Film Festival in Paris. It was deeply moving and disturbing film which depicts the shattering and the healing of a family. It also helps feed the pipeline begun with Lee Daniels producing Monster’s Ball who went on to direct to such films as Precious and The Butler. If the African American experience can continue to be expressed so eloquently by such filmmakers as Tommy Oliver, Rashaad Ernesto Green (Sundance 2012’s Gun Hill Road), Ava DuVernay (Middle of Nowhere), then a film literate audience will foster greater growth of even more talent in the coming generation. While I didn’t see All Is By My Side by U.K.’s John Ridley which is about Jimi Hendrix nor (yet!) the most highly acclaimed film of the festival, 12 Years a Slave by U.K.’s Steve McQueen, but I would include them in this discussion of the African American Experience.
On the subject of Africa, where last Sundance God Loves Uganda shocked and upset me, this year Mission Congo (Cinephil) revealed much of the same cultural divide only these two films show the negative impact of the Christian right upon already besieged Africans. What is done in the name of a righteous G-d is cause for dialogue and oversight.
Israel and the Middle East
No major turmoil or denunciations this year (Thank G-d, Allah, or whoever She may be). Katriel Schory, head of the Israeli Film Fund told me that if I could only see one film, then it should be Bethlehem which is the country’s submission for Academy Award Consideration for the Nomination for Best Foreign Language Film. It was a sad and clear eyed microcosmic view of the issues of trust and betrayals played out among every level of the society. People compared it to Omar by Hany Abu-Assad,the filmmaker of a favorite of mine, Paradise Now, but I did not see Omar.
Rags and Tatters at first seemed like a documentary, and does have doc footage, but it is a circular story that ends where it began but with much more understanding of the chaotic events in Cairo. Really worth watching.
Latino
Of the Latino films two Chilean films, Gloria (Chile) and The Summer of Flying Fish (Review), were accompanied by interviews which you can read on my previous blogs here and here. El Mudo from Peru by the Vega brothers was in the odd vien of their previous film, October. Not sure at the end just what the film was saying…
Toronto Film Fest Programmer Diana Sanchez’s official count of Latino films in the festival is 16. Of these, 5 are by women; 30% is a strong number. Venezuela and Chile are strong with year with two films each. Two other films might have been chosen except they went to San Sebastian for their world premieres. Especially hot this year was Mexico. 4 films are here but she might have chosen 10 if she could have. Costa Rica is making a showing with All About the Feathers and Central America is making more movies. There is lots of industry buzz coming from the good pictures from Brazil like A Wolf at the Door from Sao Paolo production
She is not counting Gravity by Alfonso Cuaron as as Latino film but as a U.S. film.
And Our White Society
The Dinner (Isa: Media Luna) by Menno Meyjes ♀ (Isa: Media Luna), a Dutch film deals with the personal and political as two families disintegrate when the affluent sons kill a homeless woman. Deeply disturbing social issues on the other side of the spectrum from those of 1982 and yet very much the same. How a society can foster such dissonance in class structure today which results in the disintegration of family and even a nation’s political life is, as I said, deeply disturbing. Based on the N.Y. Times best selling book which sold over 650,000 in The Netherlands, and is published in 22 countries, it stars four of Holland’s most renowned actors, Jacob Derwig, Thekla Reuten, Daan Schuurmans, and Kim van Kooten. This is a story that could be remade in America and still maintain its strength. The writer-director Menno Meyjes wrote the Academy Award nominee The Color Purple and collaborated with director Steven Speilberg on Indiana Jones and the Last Crusade. In 2008 he directed Manolete with Penelope Cruz and Adrien Brody.
The Last of Robin Hood was a romp which thrilled us because Peter Belsito, my own dear husband, had a moment on screen (as the director of Errol Flynn’s last film Cuban Rebel Girls). He got the part because he had had an equally small role in the original Cuban Rebel Girls when it filmed in Cuba in 1959, four months after the Revolution. He happened to be there on vacation with his family including his 18 year old sister and his crazy aunt because Puerto Rico was full that year and Cuba had plenty of room. Directors Richard Glatzer and Wash Westmoreland invited him to play in their film. The film actually had more meaning than merely a romp as it revealed what lays below the June-September love affair between Errol Flynn and 15 year old Beverly Aadland, the nature of fame (“a religion in this godless country” to quote Flynn himself) and ambition. Kevin Kline, Susan Sarandan and Dakota Fanning were all great in the repertoire piece.
Can a Song Save Your Life? garnered great praise as the film that followed the simple pure Once. I found it a bit flat though it kept my interest enough that I was not contemplating leaving. But it lacked the simplicity of Once.
Fading Gigolo proves that a Woody Allen Film is a Genre. John Turturro makes a Woody Allen middle-aged man fantasy of a wished for love affair with a Hasidic woman. Turturro is always lovable on screen, but his directing has something inauthentic about it…the only authentic thing was the twice-stated thought that somewhere in his heritage he was really Jewish. When I saw his previous film Passione, about Italians and passion, the opening song, being one of the first Cuban songs I ever heard, turned me off because again, it was inauthentic. It was Cuban, not Italian. I think he is not comfortable in his Italian guise.
Other films at Tiff I have seen previously:
Only Lovers Left Alive by Jim Jarmusch (Isa: HanWay, U.S. Spc). If you can see it as a dream of night, then the vampires dreaminess might appeal to you. I personally was ready to fall into my own stupor after watching this 123 minute movie of Vampires who have seen it all. Zzzzzz.
Don Jon is sexy and sweet. Scarlett Johansson is a superb comedienne, equal to Claudette Colbert in this film about two totally media mesmerized young lovers. ___ and his father are also great straight men. I loved this film, so funny and sweet and all about sex. Loved it!
Borgman Darkest humor, or is it humor? Creepy and definitely engrossing. Dutch filmmaker Alex van Warmerdam at his best. This is the Netherlands' Official Academy Awards Submission.
What I hear was good:
Aside from the ones that got snapped up for lots of money and are covered in all the trades already, there are films which I keep hearing about even now and will see:
Supermensch: The Legend of Shep Gordon
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
The Lunchbox (Isa: The Match Factory)
Prisoners (Isa: Summit/ Lionsgate, U.S.: Warner Bros)
Dallas Buyers Clubs (Isa: Voltage, U.S. Focus Features)
Life of Crime (Isa: Hyde Park, U.S.: )
A Touch of Sin (Isa: MK2, U.S. Kino Lorber)
Gravity (Isa: Warner Bros. U.S. Warner Bros.)
Enough Said (Isa: Fox Searchlight, U.S. Fox Searchlight)
La Grande Bellezza (The Great Beauty) (Isa: Pathe, U.S. Criterion) Italy’s submission for Academy Award Nomination for Best Foreign Language Film
Violette (Isa: Doc & Film, U.S.: ?)
Omar (Isa: The Match Factory, U.S.: ?)
Le Passe (The Past) (Isa: Memento, U.S. Spc) Iran’s submission for Academy Award Nomination for Best Foreign Language Film.
To the Wolf (Isa: Pascale Ramonda)
The Selfish Giant (Isa: Protagonist, U.S. IFC)
At Berkeley by Frederick Wiseman (Isa: Doc & Film, U.S. Zipporah)
The Unknown Known (Isa: Entertainment One, U.S. Radius-twc)
Ain’t Misbehavin (Un Voyager) by Marcel Ophuls (Isa: Wide House)
Faith Connections by Pan Nalin (Isa: Cite Films). This Indian French film, produced by Raphael Berduo among others is written about here.
Civil Rights (?)
Mandela: Long Walk to Freedom
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
Belle (Isa: Bankside, all rights sold to Fox Searchlight)
Lgbt
Kill Your Darlings: The youthful finding of himself by Alan Ginsburg as he enters Colombia University and meets Lucien Carr, Jack Kerouac and Alan Bourroughs revolves around a murder which actually happened. The period veracity and Daniel Radcliffe’s acting carry the film into a fascinating character study. (U.S. Spc)
Dallas Buyers Club (Isa: Voltage, U.S. Focus Features)
Tom a la ferme / Tom at the Farm by Xavier Dolan Isa: MK2, U.S.:)
L’Armee du salut/ Salvation Army by Abdellah Taia (Isa: - U.S.:-)
Eastern Boys (Isa: Films Distribution)
Pelo Malo/ Bad Hair (FiGa Films)
The Dog (Producer Rep: Submarine)
Ignasi M. (Isa: Latido)
Gerontophilia (Isa: MK2, U.S. Producer Rep: Filmoption)...
I wish I could have seen 100 other films too but for some reason or another I could not fit them in.
I moderated a wonderful panel (and we did blog on that!) on international film financing with Sffs’ Ted Hope, UTA’s Rena Ronson, Revolution’s Andrew Eaton, and Hollywood-based Cross Creek’s Brian Oliver, and Paul Miller, Head of Film Financing, from the Doha Film Institute, Qatar's first international organization dedicated to film financing, production, education and two film festivals.
I also spoke with Toronto Talent Lab filmmakers and then I filled my days with films – I did get an interview with Gloria’s director Sebastian Lelio and Berlin Best Actress winner Paulina Garcia and with Marcela Said, director of The Summer of Flying Fish but mostly I watched film after film after film – up to five a day, just like in the old days when I had to do it for my acquisitions jobs. This was pure pleasure. Friends would meet before the film, we would watch and disperse. And we would meet again at the cocktail hour or the dinner hour and then disperse again.
My partner Peter had lots of meetings with the Talent of Toronto from the Not Short on Shorts and the Talent Lab Mentoring Programs.
Parties like the Rotterdam-Screen International party gave us the chance to catch up with our Dutch friends whom we have not seen for the last two years. Ontario Media Development Corporation’s presenting the International Financing Forum luncheon gave us the chance to talk to lots of upcoming filmmakers and old friends again who were mentoring them. The panel Forty Years On: Women’s Film Festivals Today, moderated by Kay Armatage, former Tiff programmer, Professor Emeritus University of Toronto, and featuring Debra Zimmerman, Executive Director of Women Make Movies, NYC, Melissa Silverstein, Do-Fojnder an dArtistic Director of the Athena Film Festival in NYC and blogger of Women in Hollywood, So-In Hong, Director of Programming of the International Women’s Film Festival in Seoul had a rapport and didn’t hesitate to challenge each other. It felt like a party even though the subject was quite serious. The SXSW party was crowded as always, filled with everyone we could possibly know. It is always a great party we all want to attend.
One of the great dinners was that of The Creative Coalition Spotlight Awards Dinner honoring Alfre Woodard (12 Years a Slave), Hill Harper (1982, CSI: NY), Sharon Leal (1982), Matt Letscher (Scandal, The Carrie Diaries), Brenton Thwaites (Oculus, Maleficient), Tommy Oliver (1982, Kinyarwanda – I am a great fan of Tommy’s!), Tom Ortenberg (CEO, Open Road Films which has a coventure with Regal Theaters and AMC Theaters recently acquired by the richest man in China), and David Arquette (The Scream series). Our hostess, Robin Bronk is so welcoming and so dedicated to furthering the cause of universal education as a human right, education in the arts as a must. I admire her presence and her good work.
Here is a list of the great (and not so great, but never bad) films I got to see. I also list those I continue to hear about even now. I do not list all the films which were picked up during the festival and later. For that, you can go to SydneysBuzz.com and buy the Fall Rights Roundup 2013 and see all films whose rights were acquired (and announced) and by whom with links to all companies and Cinando for further research. For buyers it will, by deduction, show what is still available for Afm and for programmers, it will show who is in charge of the film for specific territories. The second edition will be issued two weeks after Afm.
One of the first films I saw and still retaining its place as one of my favorites was the documentary Finding Vivian Maier which begins with the discovery of photographs by an unknown woman named Vivian Maier by filmmaker John Maloof. As the mystery of this woman is uncovered, the audience is treated to her stunning work and the story of who she was.
One of my favorite films was by one of my favorite directors, Lucas Moodyson. We Are The Best (Isa: Trust Nordisk) was a great surprise, the story of three teeny-bopper punk-influenced girls who loved getting into unusual situations. It was loving and fun, darling and funny. I would take my children to see it and would delight in seeing it again. It was the biggest surprise for me. I can see why Magnolia snapped it up for the U.S. I thank programmer Steve Gravenstock for giving me the ticket for this film which I would have missed otherwise.
I had missed Jodorowsky’s Dune in Cannes. I am a great fan of El Topo and was eager to see this film. I was surprised at the elegance and skill of Jodorowsky in explaining his vision. Afterward, Gary Springer, our favorite publicist, arranged a wonderful reception at a classic comic book store where we loaded up on some fascinating graphic novels and Gary showed us his depiction on an old issue of Mad Magazine discussing the making of Jaws which he was in. picture here.
A totally unique and unexpected film about the African Diaspora, Belle, written and directed by Amma Asante was not talked about much to my surprise, perhaps because Fox Searchlight acquired all rights worldwide from Bankside before the festival. It is a stunningly beautiful British period piece of the 18th century about a mixed race aristocratic beauty.
My favorite film, on a par with The Patience Stone last year was Bobo (Isa: Wide) by Ines Oliveira starring Paula Garcia Aissato Indjai, produced by my friend Fernando Vendrell who gave me a ticket when I could not get one myself. This story of a woman who does nothing except go to work is forced to accept a claning woman and her young sister from Guinea-Bissau. Together they face down their demons. I love the cross-cultural understanding which results in their shared situations. I recently saw Mother of George and found the same warm connection across great cultural divides, though this one was of generations.
I wish I could have seen Pays Barbare/ Barbaric Land, the Italian/ French doc in Wavelengths about Mussolini’s attempted subjugation of Ethiopia (the only country in Africa never colonized). It sounds like great political poetry.
1982 which had previously won the prize of the jury I served on for Us Works in Progress held in July at the Champs Elysees Film Festival in Paris. It was deeply moving and disturbing film which depicts the shattering and the healing of a family. It also helps feed the pipeline begun with Lee Daniels producing Monster’s Ball who went on to direct to such films as Precious and The Butler. If the African American experience can continue to be expressed so eloquently by such filmmakers as Tommy Oliver, Rashaad Ernesto Green (Sundance 2012’s Gun Hill Road), Ava DuVernay (Middle of Nowhere), then a film literate audience will foster greater growth of even more talent in the coming generation. While I didn’t see All Is By My Side by U.K.’s John Ridley which is about Jimi Hendrix nor (yet!) the most highly acclaimed film of the festival, 12 Years a Slave by U.K.’s Steve McQueen, but I would include them in this discussion of the African American Experience.
On the subject of Africa, where last Sundance God Loves Uganda shocked and upset me, this year Mission Congo (Cinephil) revealed much of the same cultural divide only these two films show the negative impact of the Christian right upon already besieged Africans. What is done in the name of a righteous G-d is cause for dialogue and oversight.
Israel and the Middle East
No major turmoil or denunciations this year (Thank G-d, Allah, or whoever She may be). Katriel Schory, head of the Israeli Film Fund told me that if I could only see one film, then it should be Bethlehem which is the country’s submission for Academy Award Consideration for the Nomination for Best Foreign Language Film. It was a sad and clear eyed microcosmic view of the issues of trust and betrayals played out among every level of the society. People compared it to Omar by Hany Abu-Assad,the filmmaker of a favorite of mine, Paradise Now, but I did not see Omar.
Rags and Tatters at first seemed like a documentary, and does have doc footage, but it is a circular story that ends where it began but with much more understanding of the chaotic events in Cairo. Really worth watching.
Latino
Of the Latino films two Chilean films, Gloria (Chile) and The Summer of Flying Fish (Review), were accompanied by interviews which you can read on my previous blogs here and here. El Mudo from Peru by the Vega brothers was in the odd vien of their previous film, October. Not sure at the end just what the film was saying…
Toronto Film Fest Programmer Diana Sanchez’s official count of Latino films in the festival is 16. Of these, 5 are by women; 30% is a strong number. Venezuela and Chile are strong with year with two films each. Two other films might have been chosen except they went to San Sebastian for their world premieres. Especially hot this year was Mexico. 4 films are here but she might have chosen 10 if she could have. Costa Rica is making a showing with All About the Feathers and Central America is making more movies. There is lots of industry buzz coming from the good pictures from Brazil like A Wolf at the Door from Sao Paolo production
She is not counting Gravity by Alfonso Cuaron as as Latino film but as a U.S. film.
And Our White Society
The Dinner (Isa: Media Luna) by Menno Meyjes ♀ (Isa: Media Luna), a Dutch film deals with the personal and political as two families disintegrate when the affluent sons kill a homeless woman. Deeply disturbing social issues on the other side of the spectrum from those of 1982 and yet very much the same. How a society can foster such dissonance in class structure today which results in the disintegration of family and even a nation’s political life is, as I said, deeply disturbing. Based on the N.Y. Times best selling book which sold over 650,000 in The Netherlands, and is published in 22 countries, it stars four of Holland’s most renowned actors, Jacob Derwig, Thekla Reuten, Daan Schuurmans, and Kim van Kooten. This is a story that could be remade in America and still maintain its strength. The writer-director Menno Meyjes wrote the Academy Award nominee The Color Purple and collaborated with director Steven Speilberg on Indiana Jones and the Last Crusade. In 2008 he directed Manolete with Penelope Cruz and Adrien Brody.
The Last of Robin Hood was a romp which thrilled us because Peter Belsito, my own dear husband, had a moment on screen (as the director of Errol Flynn’s last film Cuban Rebel Girls). He got the part because he had had an equally small role in the original Cuban Rebel Girls when it filmed in Cuba in 1959, four months after the Revolution. He happened to be there on vacation with his family including his 18 year old sister and his crazy aunt because Puerto Rico was full that year and Cuba had plenty of room. Directors Richard Glatzer and Wash Westmoreland invited him to play in their film. The film actually had more meaning than merely a romp as it revealed what lays below the June-September love affair between Errol Flynn and 15 year old Beverly Aadland, the nature of fame (“a religion in this godless country” to quote Flynn himself) and ambition. Kevin Kline, Susan Sarandan and Dakota Fanning were all great in the repertoire piece.
Can a Song Save Your Life? garnered great praise as the film that followed the simple pure Once. I found it a bit flat though it kept my interest enough that I was not contemplating leaving. But it lacked the simplicity of Once.
Fading Gigolo proves that a Woody Allen Film is a Genre. John Turturro makes a Woody Allen middle-aged man fantasy of a wished for love affair with a Hasidic woman. Turturro is always lovable on screen, but his directing has something inauthentic about it…the only authentic thing was the twice-stated thought that somewhere in his heritage he was really Jewish. When I saw his previous film Passione, about Italians and passion, the opening song, being one of the first Cuban songs I ever heard, turned me off because again, it was inauthentic. It was Cuban, not Italian. I think he is not comfortable in his Italian guise.
Other films at Tiff I have seen previously:
Only Lovers Left Alive by Jim Jarmusch (Isa: HanWay, U.S. Spc). If you can see it as a dream of night, then the vampires dreaminess might appeal to you. I personally was ready to fall into my own stupor after watching this 123 minute movie of Vampires who have seen it all. Zzzzzz.
Don Jon is sexy and sweet. Scarlett Johansson is a superb comedienne, equal to Claudette Colbert in this film about two totally media mesmerized young lovers. ___ and his father are also great straight men. I loved this film, so funny and sweet and all about sex. Loved it!
Borgman Darkest humor, or is it humor? Creepy and definitely engrossing. Dutch filmmaker Alex van Warmerdam at his best. This is the Netherlands' Official Academy Awards Submission.
What I hear was good:
Aside from the ones that got snapped up for lots of money and are covered in all the trades already, there are films which I keep hearing about even now and will see:
Supermensch: The Legend of Shep Gordon
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
The Lunchbox (Isa: The Match Factory)
Prisoners (Isa: Summit/ Lionsgate, U.S.: Warner Bros)
Dallas Buyers Clubs (Isa: Voltage, U.S. Focus Features)
Life of Crime (Isa: Hyde Park, U.S.: )
A Touch of Sin (Isa: MK2, U.S. Kino Lorber)
Gravity (Isa: Warner Bros. U.S. Warner Bros.)
Enough Said (Isa: Fox Searchlight, U.S. Fox Searchlight)
La Grande Bellezza (The Great Beauty) (Isa: Pathe, U.S. Criterion) Italy’s submission for Academy Award Nomination for Best Foreign Language Film
Violette (Isa: Doc & Film, U.S.: ?)
Omar (Isa: The Match Factory, U.S.: ?)
Le Passe (The Past) (Isa: Memento, U.S. Spc) Iran’s submission for Academy Award Nomination for Best Foreign Language Film.
To the Wolf (Isa: Pascale Ramonda)
The Selfish Giant (Isa: Protagonist, U.S. IFC)
At Berkeley by Frederick Wiseman (Isa: Doc & Film, U.S. Zipporah)
The Unknown Known (Isa: Entertainment One, U.S. Radius-twc)
Ain’t Misbehavin (Un Voyager) by Marcel Ophuls (Isa: Wide House)
Faith Connections by Pan Nalin (Isa: Cite Films). This Indian French film, produced by Raphael Berduo among others is written about here.
Civil Rights (?)
Mandela: Long Walk to Freedom
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
Belle (Isa: Bankside, all rights sold to Fox Searchlight)
Lgbt
Kill Your Darlings: The youthful finding of himself by Alan Ginsburg as he enters Colombia University and meets Lucien Carr, Jack Kerouac and Alan Bourroughs revolves around a murder which actually happened. The period veracity and Daniel Radcliffe’s acting carry the film into a fascinating character study. (U.S. Spc)
Dallas Buyers Club (Isa: Voltage, U.S. Focus Features)
Tom a la ferme / Tom at the Farm by Xavier Dolan Isa: MK2, U.S.:)
L’Armee du salut/ Salvation Army by Abdellah Taia (Isa: - U.S.:-)
Eastern Boys (Isa: Films Distribution)
Pelo Malo/ Bad Hair (FiGa Films)
The Dog (Producer Rep: Submarine)
Ignasi M. (Isa: Latido)
Gerontophilia (Isa: MK2, U.S. Producer Rep: Filmoption)...
- 10/8/2013
- by Sydney Levine
- Sydney's Buzz
New service will enable subscribers to watch independent and world movies on same day they open in cinemas
BT has struck a deal with movie chain Curzon to offer films to subscribers to its on-demand service on the same day as they premiere in cinemas.
The telecoms company, which on Friday also announced that it is to make a range of its sports-related shows and some football and rugby matches free-to-air later this month, has signed an exclusive agreement with Curzon Home Cinema.
Under the deal, BT will launch an on-demand service offering subscribers a range of independent and world films.
The partnership, which starts with the launch of The Selfish Giant on 25 October, will also allow BT TV viewers to see new releases on the same day as the DVD goes on sale.
Prices will range from £10 to watch a film on the same day it is released in...
BT has struck a deal with movie chain Curzon to offer films to subscribers to its on-demand service on the same day as they premiere in cinemas.
The telecoms company, which on Friday also announced that it is to make a range of its sports-related shows and some football and rugby matches free-to-air later this month, has signed an exclusive agreement with Curzon Home Cinema.
Under the deal, BT will launch an on-demand service offering subscribers a range of independent and world films.
The partnership, which starts with the launch of The Selfish Giant on 25 October, will also allow BT TV viewers to see new releases on the same day as the DVD goes on sale.
Prices will range from £10 to watch a film on the same day it is released in...
- 10/4/2013
- by Mark Sweney
- The Guardian - Film News
Curzon Home Cinema has inked a deal with BT TV to carry its VOD service on the channel.Curzon titles on BT TV will include The Selfish Giant, What Maisie Knew, Mister John, The Pervert’s Guide to Ideology, Scatter My Ashes at Bergdorf’s and Fill the Void.Prices for day and date theatrical releases will be £10 while other releases will cost between £2.50 and £4.Alex Green, director of TV, BT Consumer, said: “Films are fantastically popular with BT TV customers – they watch
Curzon Home Cinema has inked a deal with BT TV to carry its VOD service on the channel.
Curzon titles on BT TV will include The Selfish Giant, What Maisie Knew, Mister John, The Pervert’s Guide to Ideology, Scatter My Ashes at Bergdorf’s and Fill the Void.
Prices for day and date theatrical releases will be £10 while other releases will cost between £2.50 and £4.
Alex Green, director of TV, BT...
Curzon Home Cinema has inked a deal with BT TV to carry its VOD service on the channel.
Curzon titles on BT TV will include The Selfish Giant, What Maisie Knew, Mister John, The Pervert’s Guide to Ideology, Scatter My Ashes at Bergdorf’s and Fill the Void.
Prices for day and date theatrical releases will be £10 while other releases will cost between £2.50 and £4.
Alex Green, director of TV, BT...
- 10/4/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
The British Film Institute are set to launch their own online streaming service, the BFI Player, which would compete with other popular UK streaming services like Netflix, LoveFilm and iTunes.
The service will enable film lovers to access the institute's extensive archive of films, interviews, Q&As and red carpet events. Up to 10,000 films from the BFI archive are expected to be made available in digital format.
It will also host exclusive VOD premieres kicking off with the newly-restored documentary "Epic Of Everest" on October 18th, followed a week later by a day-and-date release of a wide theatrical release - the coming-of-age drama "The Selfish Giant".
Source: Empire...
The service will enable film lovers to access the institute's extensive archive of films, interviews, Q&As and red carpet events. Up to 10,000 films from the BFI archive are expected to be made available in digital format.
It will also host exclusive VOD premieres kicking off with the newly-restored documentary "Epic Of Everest" on October 18th, followed a week later by a day-and-date release of a wide theatrical release - the coming-of-age drama "The Selfish Giant".
Source: Empire...
- 10/3/2013
- by Garth Franklin
- Dark Horizons
Fresh from triumph on the festival circuit, a host of exciting British films is set for release. We talk to the directors behind this sudden renaissance
At Cannes, in May, there was anxious talk. Of the 70-plus features showcased at the film festival only two of them were British. Did it signal a decline in the UK industry? By the end of 2013, would our film people be wringing their hands while cinemagoers queued up for American fare and the House of Lords unhappily convened a select committee?
Without a doubt, the pair of British films on show at Cannes were excellent – Clio Barnard's The Selfish Giant and Paul Wright's For Those in Peril – both bruising, powerful dramas. But French and American and Mexican and Chinese and Cambodian film-makers left Cannes with the top prizes; meanwhile fans and boosters of British cinema travelled back across the Channel in mild panic.
At Cannes, in May, there was anxious talk. Of the 70-plus features showcased at the film festival only two of them were British. Did it signal a decline in the UK industry? By the end of 2013, would our film people be wringing their hands while cinemagoers queued up for American fare and the House of Lords unhappily convened a select committee?
Without a doubt, the pair of British films on show at Cannes were excellent – Clio Barnard's The Selfish Giant and Paul Wright's For Those in Peril – both bruising, powerful dramas. But French and American and Mexican and Chinese and Cambodian film-makers left Cannes with the top prizes; meanwhile fans and boosters of British cinema travelled back across the Channel in mild panic.
- 9/15/2013
- by Tom Lamont
- The Guardian - Film News
The full lineup for the 57th BFI London Film Festival has been announced.
The festival takes place from October 9 to October 20, 2013, and screenings include Steve McQueen's 12 Years A Slave, Alfonso Cuaron's Gravity, Joel and Ethan Coen's Inside Llewyn Davis and Jason Reitman's Labour Day.
Other films include James Franco's As I Lay Dying, Kelly Reichardt's Night Moves starring Jesse Eisenberg and Dakota Fanning and Enough Said, which features Julia Louis-Dreyfus and the last screen performance of The Sopranos star James Gandolfini.
Also showing at the festival are Jim Jarmusch's Only Lovers Left Alive - starring Tilda Swinton and Tom Hiddleston as reunited vampires - Alexander Payne's Nebraska, starring Bruce Dern, plus recent festival hits Gloria and Blue is the Warmest Colour.
The Lff American Express Gala screening is the UK premiere of Stephen Frears's Philomena starring Judi Dench and Steve Coogan,...
The festival takes place from October 9 to October 20, 2013, and screenings include Steve McQueen's 12 Years A Slave, Alfonso Cuaron's Gravity, Joel and Ethan Coen's Inside Llewyn Davis and Jason Reitman's Labour Day.
Other films include James Franco's As I Lay Dying, Kelly Reichardt's Night Moves starring Jesse Eisenberg and Dakota Fanning and Enough Said, which features Julia Louis-Dreyfus and the last screen performance of The Sopranos star James Gandolfini.
Also showing at the festival are Jim Jarmusch's Only Lovers Left Alive - starring Tilda Swinton and Tom Hiddleston as reunited vampires - Alexander Payne's Nebraska, starring Bruce Dern, plus recent festival hits Gloria and Blue is the Warmest Colour.
The Lff American Express Gala screening is the UK premiere of Stephen Frears's Philomena starring Judi Dench and Steve Coogan,...
- 9/4/2013
- Digital Spy
The biopic of the late princess promises a brief 80s revival, Woody Allen's latest offering is being hailed as another return to form – and Benedict Cumberbatch will be inescapable
Blue Is the Warmest Colour
Epic, erotic, intimate and politically engaged, this movie – based on the graphic novel by Julie Maroh and winner of the 2013 Palme d'Or at Cannes – is a must-see. Relating the story of a passionate love affair between two young women, it is directed with intelligence and calm by the Franco-Tunisian film-maker Abdellatif Kechiche, and features lead performances of outstanding honesty and power. Adèle Exarchopoulos and newcomer Léa Seydoux play a teenager and an art student who have an intense relationship, discovering that their love has to exist both in and out of the closet. It triggers a personal and political revolution for both. The film is controversial; Maroh has called it a heterosexual fantasy of gay experience,...
Blue Is the Warmest Colour
Epic, erotic, intimate and politically engaged, this movie – based on the graphic novel by Julie Maroh and winner of the 2013 Palme d'Or at Cannes – is a must-see. Relating the story of a passionate love affair between two young women, it is directed with intelligence and calm by the Franco-Tunisian film-maker Abdellatif Kechiche, and features lead performances of outstanding honesty and power. Adèle Exarchopoulos and newcomer Léa Seydoux play a teenager and an art student who have an intense relationship, discovering that their love has to exist both in and out of the closet. It triggers a personal and political revolution for both. The film is controversial; Maroh has called it a heterosexual fantasy of gay experience,...
- 9/2/2013
- by Peter Bradshaw
- The Guardian - Film News
Kevin Macdonald, Jim Jarmush and Asghar Farhadi all have films in competition in the Adelaide Film Festival.Scroll down for full list
UK features How I Live Now, directed by Kevin Macdonald, and Clio Bernard’s The Selfish Giant are among the 12 films in competition in the Adelaide Film Festival (Aff) (Oct 10-20).
Aff director Amanda Duthie has also included two films from France: Claire Dennis’ Bastards and Stranger By The Lake, which earned Alain Guiraudie the directing prize at Cannes in Un Certain Regard. France was also the location for another competition film, Asghar Farhadi’s The Past.
“The international feature competition covers the globe with big bold stories created by masters through to first timers,” Duthie told ScreenDaily.
“Included in the mix is Dance Of Reality, for example, directed by Alejandro Joderowsky, a master filmmaker at the height of his power and in his eighties, and These Final Hours, directed by Australian...
UK features How I Live Now, directed by Kevin Macdonald, and Clio Bernard’s The Selfish Giant are among the 12 films in competition in the Adelaide Film Festival (Aff) (Oct 10-20).
Aff director Amanda Duthie has also included two films from France: Claire Dennis’ Bastards and Stranger By The Lake, which earned Alain Guiraudie the directing prize at Cannes in Un Certain Regard. France was also the location for another competition film, Asghar Farhadi’s The Past.
“The international feature competition covers the globe with big bold stories created by masters through to first timers,” Duthie told ScreenDaily.
“Included in the mix is Dance Of Reality, for example, directed by Alejandro Joderowsky, a master filmmaker at the height of his power and in his eighties, and These Final Hours, directed by Australian...
- 8/28/2013
- by Sandy.George@me.com (Sandy George)
- ScreenDaily
Selfish Giant on prize short list
Selection reveals diversity of European films
By Richard Mowe
The ten films selected for the Lux Prize 2013 Official Selection were unveiled at the 48th Karlovy Vary International Film Festival at a reception last night (30 June)
The films including the UK's The Selfish Giant, are said to reflect "the richness, diversity and excellence of European cinema."
The titles are:
• Äta sova dö (Eat Sleep Die), by Gabriela Pichler - Sweden
• Grzeli nateli dgeebi (In Bloom), by Nana Ekvtimishvili, Simon Groß - Georgia, Germany, France
• Krugovi (Circles), by Srdan Golubovic - Serbia, Germany, France, Slovenia, Croatia
• La Grande Bellezza (The Great Beauty), by Paolo Sorrentino - Italy, France
• La Plaga (The Plague), by Neus Ballús - Spain
• Miele (Honey), by Valeria Golino - Italy, France
• Oh Boy, by Jan Ole Gerster - Germany
• Pevnost (Fortress), by Lukáš Kokeš, Klára Tasovská - Czech Republic
• The Broken Circle.
Selection reveals diversity of European films
By Richard Mowe
The ten films selected for the Lux Prize 2013 Official Selection were unveiled at the 48th Karlovy Vary International Film Festival at a reception last night (30 June)
The films including the UK's The Selfish Giant, are said to reflect "the richness, diversity and excellence of European cinema."
The titles are:
• Äta sova dö (Eat Sleep Die), by Gabriela Pichler - Sweden
• Grzeli nateli dgeebi (In Bloom), by Nana Ekvtimishvili, Simon Groß - Georgia, Germany, France
• Krugovi (Circles), by Srdan Golubovic - Serbia, Germany, France, Slovenia, Croatia
• La Grande Bellezza (The Great Beauty), by Paolo Sorrentino - Italy, France
• La Plaga (The Plague), by Neus Ballús - Spain
• Miele (Honey), by Valeria Golino - Italy, France
• Oh Boy, by Jan Ole Gerster - Germany
• Pevnost (Fortress), by Lukáš Kokeš, Klára Tasovská - Czech Republic
• The Broken Circle.
- 6/30/2013
- by Richard Mowe
- eyeforfilm.co.uk
On It Artists is expanding
Following the success of our young newcomers at The Cannes Film Festival with The Selfish Giant, we are now looking to expand our books.
Over the years we have been lucky enough to discover and develop aspiring actors from the most unlikely places. Our actors have since gone on to appear in major feature films and and well known TV series. We know that the best talent is found in the most remarkable places and we are now looking for new faces.
If you are between 10 and 18 years old, please submit your CV with a photo and a cover letter about you and your experience to onitpa@gmail.com
We are holding auditions in Manchester on the 6th July and in London on the 14th July and will contact all successful applicants by the 26th June to schedule a time.
Following the success of our young newcomers at The Cannes Film Festival with The Selfish Giant, we are now looking to expand our books.
Over the years we have been lucky enough to discover and develop aspiring actors from the most unlikely places. Our actors have since gone on to appear in major feature films and and well known TV series. We know that the best talent is found in the most remarkable places and we are now looking for new faces.
If you are between 10 and 18 years old, please submit your CV with a photo and a cover letter about you and your experience to onitpa@gmail.com
We are holding auditions in Manchester on the 6th July and in London on the 14th July and will contact all successful applicants by the 26th June to schedule a time.
- 6/10/2013
- by noreply@blogger.com (ScreenTerrier)
- ScreenTerrier
Exclusive: Protagonist has closed a string of deals on Clio Barnard’s well-received Directors’ Fortnight title.
Protagonist Pictures has closed a slew of deals on Clio Barnard’s well-received Directors’ Fortnight entry The Selfish Giant.
Deals have closed with France (Pyramide Films), Australia/New Zealand (Rialto Films), Scandinavia (Non Stop Entertainment), Benelux (Cineart), Middle East (Front Row), Greece and Cyprus (Strada Films) and airlines (Eim).
As previously announced, Sundance Selects took the film for North America and Artificial Eye for UK.
Review: The Selfish Giant
Inspired by Oscar Wilde’s story of the same name, Barnard’s sophomore feature follows two teenage boys who get caught up in the world of copper theft.
The film won the Europa Cinemas Label as Best European film at Cannes.
“The buyer reaction to the film was spectacular and we have several further deals pending,” said Protagonist CEO Mike Goodridge.
“The excitement around Clio and this stunning film was intense and we...
Protagonist Pictures has closed a slew of deals on Clio Barnard’s well-received Directors’ Fortnight entry The Selfish Giant.
Deals have closed with France (Pyramide Films), Australia/New Zealand (Rialto Films), Scandinavia (Non Stop Entertainment), Benelux (Cineart), Middle East (Front Row), Greece and Cyprus (Strada Films) and airlines (Eim).
As previously announced, Sundance Selects took the film for North America and Artificial Eye for UK.
Review: The Selfish Giant
Inspired by Oscar Wilde’s story of the same name, Barnard’s sophomore feature follows two teenage boys who get caught up in the world of copper theft.
The film won the Europa Cinemas Label as Best European film at Cannes.
“The buyer reaction to the film was spectacular and we have several further deals pending,” said Protagonist CEO Mike Goodridge.
“The excitement around Clio and this stunning film was intense and we...
- 6/4/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
To my dear readers,
I am traveling through France, visiting family (what a life!) and will begin slowly to recuperate from one of the most intense Cannes I have had in years. As I do so, I hope you will follow my Cannes journal. For now, I want to mention the prizes as I was so lucky to have been able to devote the last 3 days in Cannes to watching movies and got to see some of the winners. I made a point to see the films of my fellow Americans: The Coen Brothers Inside Llewyn Davis (U.S.:CBS Films, Isa:StudioCanal) which won the well deserved Grand Prix, Alexander Payne Nebraska (U.S.: Paramount Pictures, Isa: FilmNation Ent.) whose star, 72 year old Bruce Dern, won the Best Actor Award (a "moderate surprise" to quote Cineuropa.org) as he played a decrepit old man, a few degrees removed from the almost charming Jack Nicholson in the somewhat similarly themed movie 2002 Cannes Festival film Palme d'Or and Oscar nominated film About Schmidt, Jim Jarmusch's Only Lovers Left Alive (U.S.: Sony Pictures Classics, Isa: HanWay Films) James Gray's The Immigrant (Isa: Wild Bunch, No. America: TWC) starring the always outstanding, always surprising Marion Cotillard.
My personal favorites were the Palme d'Or winning Blue is the Warmest Color, or La Vie d'Adele Chapitres 1 & 2, which will be distributed in the U.S. by Sundance Selects (Isa: Wild Bunch) and whose next chapters I eagerly await, and the second to the last film screened in Cannes, Roman Polanski's outstanding "pas de deux" Venus in Fur (U.S.: Contact ICM, Isa: Lionsgate).
For Blue is the Warmest Color the Palme d'Or director Abdellatif Kechiche along with his lead actors Léa Seydoux and Adèle Exarchopoulos were all called onto the stage as equals underlining their importance. NY Times says, that this was an "unusual, perhaps unprecedented step acknowledging the contributions of both women, who appear naked in several sex scenes, but it also took some auteur sheen away from Mr. Kechiche, suggesting that the jury had engaged in intense back-room negotiations".
The Jury Prize went to Like Father, Like Son by Japanese director Kore-Eda Hiroka. This film gives an intimate look into two families as two six-year-old boys are discovered to have been switched at birth and now must exchange parents.
Chinese director Jia Zhangke won the Best Screenplay Award for A Touch of Sin, It was his third time in competition but the first time he had won which is also good news for the French company Mk2, the film’s international sales agent.
The Caméra d´Or Jury headed by Agnès Varda presented its award to Ilo ilo, (Isa: Memento) a first film by Singapore director Anthony Chen.
The ultra violent (so I heard, as I did not see the film) Heli (Isa: Ndm) by Mexican filmmaker Amat Escalante won the Best Director Award for Heli [trailer], a coproduction between Mexico, Germany, the Netherlands and Spain.
The best Actress Award went to Berenice Bejo who was visibly surprised, for her role in the Asghar Farhadi (A Separation) directed film The Past (trailer here: The Past [trailer]
The Cineuropa team would like to point out in particular two important European films: The Great Beauty [trailer, film focus] by Italian director Paolo Sorrentino and Venus in Fur by Roman Polanski which both deserved a place on the winners’ list, which this year did not include any Special Mentions for feature films.
Palme d´Or
Blue is the Warmest Colour [trailer, film focus] - Abdellatif Kechiche
Grand Prix
Inside Llewyn Davis – Ethan and Joel Coen
Best Actress
Bérénice Bejo - The Past [trailer]
Best Actor
Bruce Dern - Nebraska
Best Director
Heli [trailer] - Amat Escalante
Best Screenplay
Jia Zhangke - A Touch of Sin
Jury Prize
Like Father, Like Son – Kore-Eda Hirokazu
Caméra d´Or Award
Ilo Ilo - Anthony Chen
Palme d'Or for Best Short Film
Safe - Moon Byoung-gon
Special Mentions
Whale Valley - Gudmundur Arnar
7°4 S - Adriano Valerio
EuropaDistribution that important arthouse indie association which also sponsors. Us in Progress at Wroclaw's American Film Festival and the upcoming Champs Elysees Film Festival gave their Special Award to the sleeper hit, The Selfish Giant, in the Directors Fortnight.
The Queer Palm Award went to the gay erotic thriller Strangers By the Lake (L’inconnu du lac) (U.S.: Strand Releasing) by writer-director Alain Guiraudie has won the 2013 Queer Palm handed out to Cannes Film Festival movies featuring gay, lesbian, bi, tri, multi, transgender, etc. characters. Stranger by the Lake was screened in the Un Certain Regard sidebar.
This is not a definitive list of the other festival winners for Directors Fortnight, Critics Week, or Acid, but I am in Arles (just bumped into Cmg's Edward Noeltner and his son Philippe!) and we're driving to see my brother-in-law in Bordeaux!
Au revoir!!
I am traveling through France, visiting family (what a life!) and will begin slowly to recuperate from one of the most intense Cannes I have had in years. As I do so, I hope you will follow my Cannes journal. For now, I want to mention the prizes as I was so lucky to have been able to devote the last 3 days in Cannes to watching movies and got to see some of the winners. I made a point to see the films of my fellow Americans: The Coen Brothers Inside Llewyn Davis (U.S.:CBS Films, Isa:StudioCanal) which won the well deserved Grand Prix, Alexander Payne Nebraska (U.S.: Paramount Pictures, Isa: FilmNation Ent.) whose star, 72 year old Bruce Dern, won the Best Actor Award (a "moderate surprise" to quote Cineuropa.org) as he played a decrepit old man, a few degrees removed from the almost charming Jack Nicholson in the somewhat similarly themed movie 2002 Cannes Festival film Palme d'Or and Oscar nominated film About Schmidt, Jim Jarmusch's Only Lovers Left Alive (U.S.: Sony Pictures Classics, Isa: HanWay Films) James Gray's The Immigrant (Isa: Wild Bunch, No. America: TWC) starring the always outstanding, always surprising Marion Cotillard.
My personal favorites were the Palme d'Or winning Blue is the Warmest Color, or La Vie d'Adele Chapitres 1 & 2, which will be distributed in the U.S. by Sundance Selects (Isa: Wild Bunch) and whose next chapters I eagerly await, and the second to the last film screened in Cannes, Roman Polanski's outstanding "pas de deux" Venus in Fur (U.S.: Contact ICM, Isa: Lionsgate).
For Blue is the Warmest Color the Palme d'Or director Abdellatif Kechiche along with his lead actors Léa Seydoux and Adèle Exarchopoulos were all called onto the stage as equals underlining their importance. NY Times says, that this was an "unusual, perhaps unprecedented step acknowledging the contributions of both women, who appear naked in several sex scenes, but it also took some auteur sheen away from Mr. Kechiche, suggesting that the jury had engaged in intense back-room negotiations".
The Jury Prize went to Like Father, Like Son by Japanese director Kore-Eda Hiroka. This film gives an intimate look into two families as two six-year-old boys are discovered to have been switched at birth and now must exchange parents.
Chinese director Jia Zhangke won the Best Screenplay Award for A Touch of Sin, It was his third time in competition but the first time he had won which is also good news for the French company Mk2, the film’s international sales agent.
The Caméra d´Or Jury headed by Agnès Varda presented its award to Ilo ilo, (Isa: Memento) a first film by Singapore director Anthony Chen.
The ultra violent (so I heard, as I did not see the film) Heli (Isa: Ndm) by Mexican filmmaker Amat Escalante won the Best Director Award for Heli [trailer], a coproduction between Mexico, Germany, the Netherlands and Spain.
The best Actress Award went to Berenice Bejo who was visibly surprised, for her role in the Asghar Farhadi (A Separation) directed film The Past (trailer here: The Past [trailer]
The Cineuropa team would like to point out in particular two important European films: The Great Beauty [trailer, film focus] by Italian director Paolo Sorrentino and Venus in Fur by Roman Polanski which both deserved a place on the winners’ list, which this year did not include any Special Mentions for feature films.
Palme d´Or
Blue is the Warmest Colour [trailer, film focus] - Abdellatif Kechiche
Grand Prix
Inside Llewyn Davis – Ethan and Joel Coen
Best Actress
Bérénice Bejo - The Past [trailer]
Best Actor
Bruce Dern - Nebraska
Best Director
Heli [trailer] - Amat Escalante
Best Screenplay
Jia Zhangke - A Touch of Sin
Jury Prize
Like Father, Like Son – Kore-Eda Hirokazu
Caméra d´Or Award
Ilo Ilo - Anthony Chen
Palme d'Or for Best Short Film
Safe - Moon Byoung-gon
Special Mentions
Whale Valley - Gudmundur Arnar
7°4 S - Adriano Valerio
EuropaDistribution that important arthouse indie association which also sponsors. Us in Progress at Wroclaw's American Film Festival and the upcoming Champs Elysees Film Festival gave their Special Award to the sleeper hit, The Selfish Giant, in the Directors Fortnight.
The Queer Palm Award went to the gay erotic thriller Strangers By the Lake (L’inconnu du lac) (U.S.: Strand Releasing) by writer-director Alain Guiraudie has won the 2013 Queer Palm handed out to Cannes Film Festival movies featuring gay, lesbian, bi, tri, multi, transgender, etc. characters. Stranger by the Lake was screened in the Un Certain Regard sidebar.
This is not a definitive list of the other festival winners for Directors Fortnight, Critics Week, or Acid, but I am in Arles (just bumped into Cmg's Edward Noeltner and his son Philippe!) and we're driving to see my brother-in-law in Bordeaux!
Au revoir!!
- 5/30/2013
- by Sydney Levine
- Sydney's Buzz
The Selfish Giant Although the major Cannes Competition prizes will not be revealed until tomorrow night (Sunday 26 May) Abdellatif Kechiche’s Blue Is The Warmest Colour took the gong from the international critics' organisation Fipresci which could be a pointer to other prizes in store.
There is also a buzz around the performances of Adele Exarchopoulos and Lea Seydoux as front-runners for a joint Cannes’ best actress prize.
Fipresci plaudits go to one outstanding film in the Cannes Competition, another in Un Certain Regard and a third in either Directors’ Fortnight or Critics’ Week.
Fiprecci’s Un Certain Regard accolade went to Iranian Mohammad Rasoulof’s Manuscripts Don’t Burn, which was secretly shot in Iran.
Directors’ Fortnight entry Blue Ruin, from Jeremy Saulnier (Murder Party) and a revenge thriller about a homeless man’s family’s murder, also received Fipresci recognition.
In addition it was announced today that the...
There is also a buzz around the performances of Adele Exarchopoulos and Lea Seydoux as front-runners for a joint Cannes’ best actress prize.
Fipresci plaudits go to one outstanding film in the Cannes Competition, another in Un Certain Regard and a third in either Directors’ Fortnight or Critics’ Week.
Fiprecci’s Un Certain Regard accolade went to Iranian Mohammad Rasoulof’s Manuscripts Don’t Burn, which was secretly shot in Iran.
Directors’ Fortnight entry Blue Ruin, from Jeremy Saulnier (Murder Party) and a revenge thriller about a homeless man’s family’s murder, also received Fipresci recognition.
In addition it was announced today that the...
- 5/24/2013
- by Richard Mowe
- eyeforfilm.co.uk
Guillaume Gallienne's "Me Myself and Mum" won the two top prizes at the 45th Directors' Fortnight, earning both the Art Cinema Award and the Society of Dramatic Authors and Composers' Prize. Serge Bozon's comedy-thriller "Tip Top" also received a special mention by the Sacd jury. Prize for best European film in Directors' Fortnight went to "The Selfish Giant," the narrative debut of Clio Barnard ("The Arbor"). In "Me Myself and Mum," an adaptation of Gallienne's one-man show, is based on his own story of a childhood in which everyone -- including his mom -- assumes he's gay. Gallienne plays himself in addition to other roles; Diane Kruger co-stars. "Tip Top," an adaptation of Bill James' novel, stars Isabelle Huppert and Sandrine Kiberlain as detectives investigating the murder of an informant. "The Selfish Giant," a very loose adaptation of the Oscar Wilde fairy tale, was acquired after its...
- 5/24/2013
- by Indiewire
- Indiewire
The Selfish Giant has been named Europa Cinemas Label's 'Best European Film' at Cannes.
Director Clio Barnard's UK drama debuted in the Directors' Fortnight section of the film festival.
The film, which centres around two troubled 13-year-olds from Bradford attempting to regain their lost innocence, has become the tenth recipient of the annual award.
The jury revealed that the winner had received a unanimous vote.
"A supremely well judged film - delicate, powerfully emotional, and brilliantly acted with remarkable editing and photography," it said in a statement. "It is a tough subject but there is hope in this moving story of the friendship between two boys.
"A very successful contemporary update of the Oscar Wilde fairy story, we feel that that this film will be especially useful for engaging younger audiences - a worthy winner of the Label, therefore."
The film will receive extra backing from Europa Cinemas Network.
Director Clio Barnard's UK drama debuted in the Directors' Fortnight section of the film festival.
The film, which centres around two troubled 13-year-olds from Bradford attempting to regain their lost innocence, has become the tenth recipient of the annual award.
The jury revealed that the winner had received a unanimous vote.
"A supremely well judged film - delicate, powerfully emotional, and brilliantly acted with remarkable editing and photography," it said in a statement. "It is a tough subject but there is hope in this moving story of the friendship between two boys.
"A very successful contemporary update of the Oscar Wilde fairy story, we feel that that this film will be especially useful for engaging younger audiences - a worthy winner of the Label, therefore."
The film will receive extra backing from Europa Cinemas Network.
- 5/24/2013
- Digital Spy
London -- Clio Barnard's The Selfish Giant, a contemporary update of the Oscar Wilde fairy story, has won the Europa Cinemas Label for the best European film unspooling during the Cannes Film Festival. The film premiered in Cannes' Directors' Fortnight sidebar and marks the 10th time the Label has been awarded in Cannes. The prize means the Europa Cinemas Network, a exhibitors association which represents over 3,000 screens in Europe and elsewhere, will provide additional backing to exhibitors to exhibit the film. This year's Europa Cinemas jury in Cannes consisted of Alice Black of Dundee Contemporary Arts in the U.K.,
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- 5/24/2013
- by Stuart Kemp
- The Hollywood Reporter - Movie News
A number of awards are being announced out of Cannes. "Salvo," a Mafia romance co-directed by Fabio Grassadonia and Antonio Piazza, has nabbed the Critics Week Grand Prize, while Ritesh Batra's "The Lunch Box" has nabbed the Viewers Choice award, the Rail d'Or (acquisition news here); UK director Clio Barnard's "The Selfish Giant," an update of the Oscar Wilde short story focusing on the friendship between two boys, has taken the Europa Cinemas Label prize as Best European Film in the Directors Fortnight section; and the Cinefondation and Short Films Jury, headed by Jane Campion, has awarded the 2013 Cinefondation prizes. Full list below.The Cinefondation Selection consisted of 18 student films, chosen out of nearly 1 550 entries coming from 277 film schools around the world. The awarded films will receive €15,000 for the first prize, €11,250 for the second and €7,500 for the third. The first prize winner is also guaranteed that her first feature film will be.
- 5/24/2013
- by Beth Hanna
- Thompson on Hollywood
For decades its conspicuous excess dazzled the world, but film-makers are increasingly turning to television to show off their wares
When Carey Mulligan ditches the Tiffany spangles and Prada sequins of The Great Gatsby, in favour of a baggy jumper and the dingy folk music venues she favours in her role in the new Coen brothers film, Inside Llewyn Davis, it could be seen as a comment on this year's Cannes film festival.
Playing the unfussy singer Jean Berkey straight after her bejewelled portrayal of Daisy Buchanan, the actress appeared to have deliberately cast off the baubles and artifice that hang around the annual 12-day cinematic bonanza on the Côte D'Azur. And this year, the festival's 66th outing on Boulevard de la Croisette, the glittery trappings have strained more than ever to deliver the glamour the waiting world expects.
Conspicuous excess is de rigueur at Cannes and visiting stars fail to dazzle at their peril.
When Carey Mulligan ditches the Tiffany spangles and Prada sequins of The Great Gatsby, in favour of a baggy jumper and the dingy folk music venues she favours in her role in the new Coen brothers film, Inside Llewyn Davis, it could be seen as a comment on this year's Cannes film festival.
Playing the unfussy singer Jean Berkey straight after her bejewelled portrayal of Daisy Buchanan, the actress appeared to have deliberately cast off the baubles and artifice that hang around the annual 12-day cinematic bonanza on the Côte D'Azur. And this year, the festival's 66th outing on Boulevard de la Croisette, the glittery trappings have strained more than ever to deliver the glamour the waiting world expects.
Conspicuous excess is de rigueur at Cannes and visiting stars fail to dazzle at their peril.
- 5/20/2013
- by Vanessa Thorpe
- The Guardian - Film News
Clio Barnard, whose film has been described as 'hauntingly perfect', says Brits should be 'very proud' of their native industry
There may be no British film in the main competition for the Palme D'Or this year, but that has not stopped a Yorkshirewoman from becoming the toast of Cannes. Clio Barnard's film The Selfish Giant has already been described as "hauntingly perfect" and "jaggedly moving" by critics as it premieres in the Director's Fortnight section of the film festival, with the director herself hailed as a significant new voice in British cinema.
And, despite gloominess about the complete absence of a UK presence from the main Cannes competition lineup, Britons should embrace their native film industry, according to Barnard. "We should be very proud of, in the same way that we should be proud of the NHS," she said.
While "the rest of the world responds to it", she said,...
There may be no British film in the main competition for the Palme D'Or this year, but that has not stopped a Yorkshirewoman from becoming the toast of Cannes. Clio Barnard's film The Selfish Giant has already been described as "hauntingly perfect" and "jaggedly moving" by critics as it premieres in the Director's Fortnight section of the film festival, with the director herself hailed as a significant new voice in British cinema.
And, despite gloominess about the complete absence of a UK presence from the main Cannes competition lineup, Britons should embrace their native film industry, according to Barnard. "We should be very proud of, in the same way that we should be proud of the NHS," she said.
While "the rest of the world responds to it", she said,...
- 5/18/2013
- by Charlotte Higgins
- The Guardian - Film News
An intensely felt piece of social realism, reinventing Oscar Wilde's story, shows director Clio Barnard growing into one of Britain's best young film-makers
British film-maker Clio Barnard made a sensational debut with The Arbor in 2010, about the troubled dramatist Andrea Dunbar: a brilliant and eerily dreamlike film which won the passionate admiration of David Hare and David Thomson among many others. Actors recreated scenes from Dunbar's life and lip-synched into camera using tape-recorded testimony from Dunbar's friends and family. Now Barnard's intensely anticipated follow-up has arrived at Cannes, showing in the Director's Fortnight strand. It is a variation on a theme by Oscar Wilde, a new secular version of Wilde's children's tale The Selfish Giant, which challenges the audience to rethink how redemption is achieved in a world without Christ and which of its characters the title actually refers to.
This film may not exactly have the sophistication of The Arbor,...
British film-maker Clio Barnard made a sensational debut with The Arbor in 2010, about the troubled dramatist Andrea Dunbar: a brilliant and eerily dreamlike film which won the passionate admiration of David Hare and David Thomson among many others. Actors recreated scenes from Dunbar's life and lip-synched into camera using tape-recorded testimony from Dunbar's friends and family. Now Barnard's intensely anticipated follow-up has arrived at Cannes, showing in the Director's Fortnight strand. It is a variation on a theme by Oscar Wilde, a new secular version of Wilde's children's tale The Selfish Giant, which challenges the audience to rethink how redemption is achieved in a world without Christ and which of its characters the title actually refers to.
This film may not exactly have the sophistication of The Arbor,...
- 5/17/2013
- by Peter Bradshaw
- The Guardian - Film News
Considering that the Cannes experience consists mostly of critics and other assorted ornery types shambling into theaters, sitting in front of a screenful of flickering images for a few hours and then, like Flash Gordon’s Mole People, tumbling back out into daylight, news travels surprisingly fast. Earlier today, a colleague and I had just stepped out of a midmorning screening of a rather steamy and interesting little thriller, Alain Guiraudie’s Stranger by the Lake, when a third colleague began thinking aloud about what he might see next. Earlier in the morning, some of our friends who are surprisingly adept at being in two places at once had seen a picture called The Selfish Giant, screening not in the main competition, but in the Quinza...
- 5/15/2013
- Village Voice
nBaz Luhrman's 1920s extravaganza to open 66th festival and cement Surrey girl Carey Mulligan's arrival in Hollywood A-list
Many people might think The Great Gatsby has already had a premiere with reviews from American screenings widely available. But for its British star, Carey Mulligan, the red carpet Cannes screening of Baz Luhrmann's 3D extravaganza on Wednesday evening will secure her position among the top flight of international talent.
The film will officially open the annual event in the south of France, regarded as the leading festival in the cinema industry's calendar. Mulligan is expected to attend alongside Lurhrman and her co-star, Leonardo DiCaprio, and will be the glamorous focus of the most high-profile function of the fortnight.
The actor from Surrey, who is married to Marcus Mumford of the award-winning band Mumford and Sons, is to have a second moment of glory later in the festival when she...
Many people might think The Great Gatsby has already had a premiere with reviews from American screenings widely available. But for its British star, Carey Mulligan, the red carpet Cannes screening of Baz Luhrmann's 3D extravaganza on Wednesday evening will secure her position among the top flight of international talent.
The film will officially open the annual event in the south of France, regarded as the leading festival in the cinema industry's calendar. Mulligan is expected to attend alongside Lurhrman and her co-star, Leonardo DiCaprio, and will be the glamorous focus of the most high-profile function of the fortnight.
The actor from Surrey, who is married to Marcus Mumford of the award-winning band Mumford and Sons, is to have a second moment of glory later in the festival when she...
- 5/11/2013
- by Vanessa Thorpe
- The Guardian - Film News
First film in 20 years from Alejandro Jodorowsky, as Clio Barnard and Paul Wright fly flag for Britain
The line-up of this year's Cannes film festival is now complete after the announcement of the Directors' Fortnight and Critics' Week selections.
The Director's Fortnight has added 20 titles to its already-announced opener, The Congress, from Ari "Waltz With Bashir" Folman, a part-animated adaptation of Stanislaw "Solaris" Lem's sci-fi novel The Futurological Congress.
Highlights include La Danza de la Realidad, the first film for more than two decades from cult Chilean director Alejandro Jodorowsky (best known for El Topo), and a complementary documentary, Jodorowsky's Dune, about the director's disastrous attempt to film Frank Herbert's giant novel. Two more Chilean directors, Sebastian Silva, with his Sundance hit Magic Magic, starring Michael Cera, and Marcela Said with The Summer of the Flying Fish, have had films selected alongside.
Directors Fortnight artistic director Edouard Waintrop has...
The line-up of this year's Cannes film festival is now complete after the announcement of the Directors' Fortnight and Critics' Week selections.
The Director's Fortnight has added 20 titles to its already-announced opener, The Congress, from Ari "Waltz With Bashir" Folman, a part-animated adaptation of Stanislaw "Solaris" Lem's sci-fi novel The Futurological Congress.
Highlights include La Danza de la Realidad, the first film for more than two decades from cult Chilean director Alejandro Jodorowsky (best known for El Topo), and a complementary documentary, Jodorowsky's Dune, about the director's disastrous attempt to film Frank Herbert's giant novel. Two more Chilean directors, Sebastian Silva, with his Sundance hit Magic Magic, starring Michael Cera, and Marcela Said with The Summer of the Flying Fish, have had films selected alongside.
Directors Fortnight artistic director Edouard Waintrop has...
- 4/24/2013
- by Andrew Pulver
- The Guardian - Film News
#83. Clio Bernard’s The Selfish Giant
Gist: Fascinating little tidbit of info is that Clio Barnard based her adaptation of The Selfish Giant on stories she was told and people that she met whilst making The Arbor. Inspired by Oscar Wilde’s story of the same name, this contemporary set fable is about two teenage boys who get caught up in the world of copper theft.
Prediction: Directors’ Fortnight. Just when we thought that we found a new docu-helmer (The Arbor received accolades on top of further accolades in 2010), Bernard proved how flexible and uncompromising she was, set on filming a fable and found some major backing for it. Having lensed last year with an experienced supporting cast and a pair of young, first time leads, all arrows are pointing to a major film festival showing.
prev next...
Gist: Fascinating little tidbit of info is that Clio Barnard based her adaptation of The Selfish Giant on stories she was told and people that she met whilst making The Arbor. Inspired by Oscar Wilde’s story of the same name, this contemporary set fable is about two teenage boys who get caught up in the world of copper theft.
Prediction: Directors’ Fortnight. Just when we thought that we found a new docu-helmer (The Arbor received accolades on top of further accolades in 2010), Bernard proved how flexible and uncompromising she was, set on filming a fable and found some major backing for it. Having lensed last year with an experienced supporting cast and a pair of young, first time leads, all arrows are pointing to a major film festival showing.
prev next...
- 4/2/2013
- by Eric Lavallee
- IONCINEMA.com
After a slightly diminished 2012 showing for the UK art house, Brit auteurs return en masse. There are new features by Clio Barnard (a Bradford-based take on Oscar Wilde's The Selfish Giant), Joanna Hogg (starring ex-Slits guitarist Viv Albertine) and Ben Wheatley, bringing warped psychedelia to the Cromwell era with A Field in England. Ken Loach ventures into new territory with his archive documentary The Spirit of '45, while the elusive Jonathan Glazer (Sexy Beast) unveils Under the Skin, with Scarlett Johansson as a predatory alien. Steve McQueen returns with Twelve Years a Slave, with a cast including Chiwetel Ejiofor and Benedict Cumberbatch. And, injecting a note of mainstream jollity, Edgar Wright reteams with Simon Pegg for an apocalyptic pub crawl in The World's End.
- 1/6/2013
- The Independent - Film
Clio Barnard's second feature film The Selfish Giant, an update on Oscar Wilde's short story for children, has wrapped after a six-week shoot in the writer/director's hometown of Bradford.Barnard's striking and innovative debut The Arbor marked her out as a talent to watch and her follow-up was born of that experience. Her adaptation of Wilde's story was fuelled by the people she met working on that documentary, right down to a teenager called Arbor. If this trend catching on, look out for a character called 'Battleship' in Peter Berg's new film. Billed as a contemporary fable about two teenage boys who become ensnared in a world of copper theft, Barnard describes it as "a retelling of a fairy tale based on fact”. The story sees 14 year-old Arbor (newcomer Conner Chapman) and his best friend Swifty (Shaun Thomas) meet Kitten (Sean Gilder), a local scrapman,...
- 10/23/2012
- EmpireOnline
It's a good day to be Ben Wheatley. The director, who's become one of the most talked-about new directors around thanks to "Down Terrace" and "Kill List," is making his Cannes debut today with his dark, Edgar Wright-exec-produced comedy "Sightseers" -- a press screening is underway as we speak, and we'll have our verdict for you later this evening. And just as that film is released into the wild, Wheatley seems to have landed financing for his most ambitious project yet, and is planning yet another film to follow that.
According to Screen Daily, Film4, which was partially behind both "Kill List" and "Sightseers," has decided to reteam with Wheatley on "Freakshift," a cops vs. monsters movie which the filmmaker will direct next year. The company is currently looking for co-financing on the project, which will see the director working on his biggest canvas to date. Screen Daily don't...
According to Screen Daily, Film4, which was partially behind both "Kill List" and "Sightseers," has decided to reteam with Wheatley on "Freakshift," a cops vs. monsters movie which the filmmaker will direct next year. The company is currently looking for co-financing on the project, which will see the director working on his biggest canvas to date. Screen Daily don't...
- 5/23/2012
- by Oliver Lyttelton
- The Playlist
The following is a list of all comic books, graphic novels and special items that will be available this week and shipped to comic book stores who have placed orders for them.
12-gauge Comics
Boondock Saints Volume 1 In Nomine Patris Hc (Limited Edition), $34.99
Action Lab Entertainment
Princeless Volume 1 Save Yourself Tp, $14.95
Amryl Entertainment
Cavewoman Mutation #2 (Devon Massey Special Edition), $6.85
Antarctic Press
Gold Digger #138, $3.99
Ape Entertainment
Richie Rich Digest Volume 2 Pursuit Of Pesos And Other Stories Tp, $6.99
Scouts Drafted Gn, $6.99
Archie Comics
Archie Double Digest #229, $3.99
Jughead #213, $2.99
Sonic Universe #40, $2.99
Ardden Entertainment
Flash Gordon Vengence Of Ming Gn (not verified by Diamond), $12.99
Audiogo
Doctor Who The Lost TV Episodes Collection Four 1967 Audio CD, $124.95
Torchwood Fallout An Audio-Exclusive Adventure Audio CD, $24.95
Azure Press
Ninjas Vs Zombies Bundle (contains #1-4 and signed bonus issue), $14.99
Big Dog Ink
Ursa Minor #1 (Ian Snyder Regular Cover), $3.50
Ursa Minor #1 (Natalie Sanders Variant Cover), Ar
Black Library
Void Stalker...
12-gauge Comics
Boondock Saints Volume 1 In Nomine Patris Hc (Limited Edition), $34.99
Action Lab Entertainment
Princeless Volume 1 Save Yourself Tp, $14.95
Amryl Entertainment
Cavewoman Mutation #2 (Devon Massey Special Edition), $6.85
Antarctic Press
Gold Digger #138, $3.99
Ape Entertainment
Richie Rich Digest Volume 2 Pursuit Of Pesos And Other Stories Tp, $6.99
Scouts Drafted Gn, $6.99
Archie Comics
Archie Double Digest #229, $3.99
Jughead #213, $2.99
Sonic Universe #40, $2.99
Ardden Entertainment
Flash Gordon Vengence Of Ming Gn (not verified by Diamond), $12.99
Audiogo
Doctor Who The Lost TV Episodes Collection Four 1967 Audio CD, $124.95
Torchwood Fallout An Audio-Exclusive Adventure Audio CD, $24.95
Azure Press
Ninjas Vs Zombies Bundle (contains #1-4 and signed bonus issue), $14.99
Big Dog Ink
Ursa Minor #1 (Ian Snyder Regular Cover), $3.50
Ursa Minor #1 (Natalie Sanders Variant Cover), Ar
Black Library
Void Stalker...
- 5/13/2012
- by GeekRest
- GeekRest
Wanted For Clio Barnard Film Project
“The Selfish Giant”
Boys Aged Between 8 And 15
Please come along for a chat onSATURDAY 15Th January 201112 noon to 4pm
Buttershaw Youth Club, Reevy Road, BD6 3Pu, Bradford.
Who we are:
Amy Hubbard (casting director of Clio Barnard’s The Arbor, The Lord of the Rings,Bourne Ultimatum, Father Ted etc.,)
Natalie Gavin (actress from Shameless and The Arbor playing Andrea Dunbar).
“The Selfish Giant”
Boys Aged Between 8 And 15
Please come along for a chat onSATURDAY 15Th January 201112 noon to 4pm
Buttershaw Youth Club, Reevy Road, BD6 3Pu, Bradford.
Who we are:
Amy Hubbard (casting director of Clio Barnard’s The Arbor, The Lord of the Rings,Bourne Ultimatum, Father Ted etc.,)
Natalie Gavin (actress from Shameless and The Arbor playing Andrea Dunbar).
- 1/10/2011
- by noreply@blogger.com (ScreenTerrier)
- ScreenTerrier
A feature film version of Oscar Wilde's short story, 'The Selfish Giant' has commenced its development process with Next Door Neighbor Productions. The feature is to be directed by Irish filmmaker and artist Catherine Owens (co-director of the first live-action digital 3D film, 'U23D') and will be a mixture of 3D live action, motion capture and animation.
- 12/8/2010
- IFTN
The much beloved (apparently) short story, The Selfish Giant by Oscar Wilde is getting a big screen treatment by Irish director, Catherine Owens and it’s going to be in 3D, incorporating live action, motion capture and animation. The story is one of a Giant and a bunch of kids, who he doesn’t allow into his garden. But when they sneak back in, he realises that things are probably better with the kids around as the garden blossoms like it’s Spring when the kids are thundering around. Anyway, he befriends one child in particular and eventually that child disappears and returns as Jesus (from my understanding of it anyway) when the Giant is about to die! Catherine Owens was the co-director of U2 3D which was pretty impressive and obviously she has a great deal of knowledge of how 3D works so this could be something to watch out for!
- 12/7/2010
- by vicbarry@gmail.com (Vic Barry)
- www.themoviebit.com
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