Illustrations by Maddie Fischer.Find all of our Cannes 2024 coverage here.Eephus.Founded in 2011 by a group of college friends in Boston, Omnes Films is a production company that’s quietly created some of the most unique American movies of the last half-decade. Now based in Los Angeles, Omnes came to prominence in 2019 with Ham on Rye, a magical-realist coming-of-age fable set in suburban Long Island that solidified the collective’s four main players: director Tyler Taormina, cinematographer Carson Lund, producer Michael Basta, and music supervisor Jonathan Davies—all of whom have subsequently directed their own films under the Omnes banner.Omnes’s two latest projects, Eephus and Christmas Eve in Miller’s Point (both 2024), directed by Lund and Taormina, respectively, both premiered in Cannes as part of this year’s Directors’ Fortnight—a programming decision further confirming the section’s renewed interest in American cinema following the inclusion of The Sweet East,...
- 6/4/2024
- MUBI
Illustrations by Maddie Fischer.For more Cannes 2024 coverage, subscribe to the Weekly Edit newsletter.Eephus.For all the thrills that come from watching the latest film by this or that renowned auteur, I don’t come to Cannes for confirmation, but for the pleasure of discovery. And nothing quite matches the exhilaration of reckoning with a new voice—the kind that jolts you out of your festival torpor and reminds you of all the beauty and magic the cinema can muster. As usual, those epiphanies were a lot harder to come by in the official competition than in the risk-friendlier Directors’ Fortnight, an independent sidebar born in 1969 as a counterprogram dedicated, per its mission statement, “to showcasing the most singular forms of contemporary cinema.” It is here that some of the greatest have shown their earliest stuff, an illustrious pedigree that’s flaunted before each screening through a short reel...
- 5/29/2024
- MUBI
Within the sports movies subgenre, there have been tons of baseball movies made over the decades. It is America's pastime, after all! There's even an entire book published this month about baseball movies and their legacy. So it would seem as if we've seen it all – every kind of baseball movie has been made before by someone at some point; even Richard Linklater made a modern classic a few years ago (called Everybody Wants Some) and we featured a video edit of the best movies. Lo and behold, we have another classic that has just come up to bat. Carson Lund's Eephus is a baseball movie we've never seen before. And it's genius. It's an "old dudes play ball" indie comedy and it's hilarious. I laughed my ass off watching this, it's more fun than actually going to a ball game, and there's plenty to analyze about what's happening...
- 5/27/2024
- by Alex Billington
- firstshowing.net
Yogi Berra, perhaps the greatest catcher in history, is quoted in Carson Lund’s “Eephus,” a movie about players who, unlike Berra, are never going to trouble the Baseball Hall of Fame’s induction committee. To homage so lofty a legend in so humble a film is a pretty big swing. But one likes to think Berra would be tickled by the shout-out in this lovely little sundowner movie, during which a bunch of middle-aged casual players use the excuse of the last game of their season — and perhaps ever — to valiantly fight the dying of the light. After all, wasn’t he the guy who coined “The future ain’t what it used to be”?
The future sure looks different, suddenly, for the Adler’s Paint and Riverdogs adult-league teams who have played regularly at Soldier’s Field, the public pitch serving their small New England town, for years.
The future sure looks different, suddenly, for the Adler’s Paint and Riverdogs adult-league teams who have played regularly at Soldier’s Field, the public pitch serving their small New England town, for years.
- 5/21/2024
- by Jessica Kiang
- Variety Film + TV
American filmmaker collective Omnes Films, in Cannes with Tyler Taormina’s Christmas Eve At Miller’s Point and Carson Lund’s Eephus in Directors’ Fortnight, has shared first details about its expanding slate.
Lorena Alvarado’s Venezuela-set Los Capítulos Perdidos tells of a young woman who returns to Venezuela where her grandmother is losing her memory and her father assembles a rare books collection. Alvarado’s family members play fictionalised versions of themselves.
Alexandra Simpson’s feature debut No Sleep Till takes place in a coastal Florida town threatened by an approaching hurricane where the locals insist on staying in their homes.
Lorena Alvarado’s Venezuela-set Los Capítulos Perdidos tells of a young woman who returns to Venezuela where her grandmother is losing her memory and her father assembles a rare books collection. Alvarado’s family members play fictionalised versions of themselves.
Alexandra Simpson’s feature debut No Sleep Till takes place in a coastal Florida town threatened by an approaching hurricane where the locals insist on staying in their homes.
- 5/20/2024
- ScreenDaily
“Please stop me if any of the terms don’t make sense.” A few days before his feature debut, Eephus, will premiere in the Directors’ Fortnight, Carson Lund is sitting on a rooftop terrace in Cannes and worrying I may not catch all the jargon. Understandably. A chronicle of the last baseball game played at Soldiers Field in Douglas, Ma before the grounds will be paved over and replaced by a middle school, the chat’s testing my—admittedly limited—knowledge of the sport. Yet how you’ll respond to Lund’s wistful film won’t depend on your level of inside baseball. It will depend on […]
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine-Director Interviews
“Please stop me if any of the terms don’t make sense.” A few days before his feature debut, Eephus, will premiere in the Directors’ Fortnight, Carson Lund is sitting on a rooftop terrace in Cannes and worrying I may not catch all the jargon. Understandably. A chronicle of the last baseball game played at Soldiers Field in Douglas, Ma before the grounds will be paved over and replaced by a middle school, the chat’s testing my—admittedly limited—knowledge of the sport. Yet how you’ll respond to Lund’s wistful film won’t depend on your level of inside baseball. It will depend on […]
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine - Blog
In front of empty wooden bleachers on a late summer day in Massachusetts, two squads of out-of-shape, middle-aged men show up to play a game of baseball on what they all expect to be one of their saddest afternoons in recent memory. For decades, this recreational league has been the social glue that binds the men in this community together. But it’s all about to disappear when the local field is destroyed after the season, which ends today. So the men load their coolers up with cheap beer, spend copious amounts of time stretching, and prepare to give their summer haven a glorious send-off before they have to find something else to do with their weekends.
Carson Lund’s directorial debut shares its name with a slow-moving pitch that has largely been forgotten by modern baseball players — and it’s a fitting title for a film that embraces the...
Carson Lund’s directorial debut shares its name with a slow-moving pitch that has largely been forgotten by modern baseball players — and it’s a fitting title for a film that embraces the...
- 5/19/2024
- by Christian Zilko
- Indiewire
If the perfect sports movie illuminates the fundamentals that make one fall in love with the game, there may be no better movie about baseball than Carson Lund’s Eephus. Structured solely around a single round of America’s national pastime, Lund’s debut feature beautifully, humorously articulates the particular nuances, rhythms, and details of an amateur men’s league game. By subverting tropes of the standard sports movie––which often captures peak physical performance in front of legions of adoring fans––Lund has crafted something far more singularly compelling. Rather than grand slams and no-hitters, there are errors aplenty and no shortage of beer guts and weathered muscles amongst the motley crew. Lund is more interested in examining the peculiar set of social codes that only apply when one is on the field, unimpeded by life’s responsibilities and entirely focused on the rules of the game.
Carrying an...
Carrying an...
- 5/19/2024
- by Jordan Raup
- The Film Stage
Most baseball movies are not, per se, about baseball. To take some examples: The Natural is about a prodigy overcoming trauma; Eight Men Out is about greed and corruption; Bad News Bears is a foul-mouthed coming-of-age flick; Bull Durham is all about Kevin Costner’s sex appeal; Moneyball carries the sport into the information age; and Field of Dreams (Costner, again) is haunted by the ghosts of baseball past.
First-time director Carson Lund clearly had this in mind when he made his feature debut Eephus, a movie steeped in nostalgia for the game itself, as well as what it represents for a bunch of men past their prime: the long afternoons in the sun, the trash-talking at the plate, the brewskies in the cooler and the kind of camaraderie you can only find in the dugout.
In many ways, this existential and increasingly surreal indie effort, which seems to be...
First-time director Carson Lund clearly had this in mind when he made his feature debut Eephus, a movie steeped in nostalgia for the game itself, as well as what it represents for a bunch of men past their prime: the long afternoons in the sun, the trash-talking at the plate, the brewskies in the cooler and the kind of camaraderie you can only find in the dugout.
In many ways, this existential and increasingly surreal indie effort, which seems to be...
- 5/19/2024
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
It’s the holidays, and strings of gaudy rainbow lights twinkle from gables. In cozy living rooms, the elders doze in their chairs while middle-aged siblings bicker and booze it up around the dining table. Little kids squirm in makeshift beds trying to stay awake for Santa, while truculent teenagers sneak out into the suburban night to do secret teenager things. Ok, so there are no chestnuts roasting on an open fire — instead there is a salad bowl full of red and green M&Ms — but in almost every other respect, Tyler Taormina’s delightful stocking-stuffer “Christmas Eve in Miller’s Point” is as alive to the domesticated magic of the season as a classic carol. Taormina’s fondly multivalent, Millennial-Norman-Rockwell perspective incorporates a child’s experience of the holiday, overlaid with a teen’s and a parent’s and a grandparent’s and so on. It feels as though...
- 5/17/2024
- by Jessica Kiang
- Variety Film + TV
Three features into his filmmaking career, it’s evident that director Tyler Taormina loves faces — though not in the way of Bergman or Cassavetes. Unlike those art house paragons, he doesn’t isolate his characters in order to peer intently into their souls. He collects faces by the dozen and dreams up crowded tableaus.
His debut film, Ham on Rye, presented a mysterious and unsettling teen ritual in which the faces never connected to conventional stories. Five years later, Taormina is still inspired by group dynamics, and he’s still experimenting with the fusion of aesthetics and storytelling, but this time on more familiar terrain. Veering at times into sensory overload as it reconfigures the holiday-gathering template, Christmas Eve in Miller’s Point can feel like a party that refuses to end, one that could have used some judicious streamlining. But it’s a memorably adventurous party, fueled by intense hopefulness,...
His debut film, Ham on Rye, presented a mysterious and unsettling teen ritual in which the faces never connected to conventional stories. Five years later, Taormina is still inspired by group dynamics, and he’s still experimenting with the fusion of aesthetics and storytelling, but this time on more familiar terrain. Veering at times into sensory overload as it reconfigures the holiday-gathering template, Christmas Eve in Miller’s Point can feel like a party that refuses to end, one that could have used some judicious streamlining. But it’s a memorably adventurous party, fueled by intense hopefulness,...
- 5/17/2024
- by Sheri Linden
- The Hollywood Reporter - Movie News
“Half the time I was directing, I also had a glove on my hand,” says filmmaker Carson Lund of making his feature directorial debut with the Cannes title Eephus.
The film, which is premiering in Directors’ Fortnight and is being sold worldwide by Film Constellation, follows a men’s New England recreational baseball team as they play their final game on their longtime field before its planned demolition.
From Pride of the Yankees to Bull Durham to Moneyball, baseball has a long and varied onscreen tradition. For his part, Lund wanted to take a different approach. “No baseball film, I feel, has ever really captured the rhythms of the game and what it feels like to actually play it,” says the director. “A lot of these films are ultimately about single characters, protagonists who are undergoing some sort of transformation and self-enlightenment over the course of a narrative. It’s...
The film, which is premiering in Directors’ Fortnight and is being sold worldwide by Film Constellation, follows a men’s New England recreational baseball team as they play their final game on their longtime field before its planned demolition.
From Pride of the Yankees to Bull Durham to Moneyball, baseball has a long and varied onscreen tradition. For his part, Lund wanted to take a different approach. “No baseball film, I feel, has ever really captured the rhythms of the game and what it feels like to actually play it,” says the director. “A lot of these films are ultimately about single characters, protagonists who are undergoing some sort of transformation and self-enlightenment over the course of a narrative. It’s...
- 5/16/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
European production and sales studio Vuelta Group has bought German producer Telepool from Will Smith and Jada Pinkett Smith’s Westbrook.
The deal, struck through Vuelta subsidiary SquareOne, will see a combined business operating under the SquareOne banner. SquareOne and Vuelta Group Germany CEO Al Munteanu will lead the banner, with Michael Heyd serving as CFO and COO.
Financial terms of the deal weren’t disclosed, but the combined group will boast a library of over 1,200 titles such as Drive, Intouchables, Olympus Has Fallen, Transporter 3 and the recently released One Life. It will form part of the growing Vuelta Group, which in July last year we revealed had formed through the acquisitions of SquareOne, Paris-based international sales firm Playtime Group and Nordic distributor-producer Scanbox.
Vuelta Group Chairman Jeromt Levy, who launched the group with $50M backing from an unnamed U.S. private equity firm, announced the news today along with Munteanu.
The deal, struck through Vuelta subsidiary SquareOne, will see a combined business operating under the SquareOne banner. SquareOne and Vuelta Group Germany CEO Al Munteanu will lead the banner, with Michael Heyd serving as CFO and COO.
Financial terms of the deal weren’t disclosed, but the combined group will boast a library of over 1,200 titles such as Drive, Intouchables, Olympus Has Fallen, Transporter 3 and the recently released One Life. It will form part of the growing Vuelta Group, which in July last year we revealed had formed through the acquisitions of SquareOne, Paris-based international sales firm Playtime Group and Nordic distributor-producer Scanbox.
Vuelta Group Chairman Jeromt Levy, who launched the group with $50M backing from an unnamed U.S. private equity firm, announced the news today along with Munteanu.
- 5/8/2024
- by Jesse Whittock
- Deadline Film + TV
German distributor-producer SquareOne Entertainment, part of rising European film studio Vuelta Group, has acquired German film and TV production, distribution and licensing company Telepool, which was owned by Will Smith and Jada Pinkett Smith’s Westbrook.
The news was announced Wednesday by Vuelta Group chairman Jerome Levy and CEO of SquareOne and Vuelta Group Germany Al Munteanu.
Munteanu will spearhead the newly combined entity under the SquareOne banner with Michael Heyd serving as CFO/COO.
The newly combined SquareOne entity will boast a library consisting of over 1,200 titles such as “Drive,” “Intouchables,” “The Olympus Has Fallen,” “The Hitman’s Bodyguard,” “Imitation Game,” “Lone Survivor,” “Book Club,” “Transporter 3,” “King Richard,” “Maurice the Tomcat” and the recently released “One Life” among others.
“For over 60 years, Telepool has been one of the leading global content houses and we are proud of the work we did with the company,” said Westbrook CEO Kosaku Yada.
The news was announced Wednesday by Vuelta Group chairman Jerome Levy and CEO of SquareOne and Vuelta Group Germany Al Munteanu.
Munteanu will spearhead the newly combined entity under the SquareOne banner with Michael Heyd serving as CFO/COO.
The newly combined SquareOne entity will boast a library consisting of over 1,200 titles such as “Drive,” “Intouchables,” “The Olympus Has Fallen,” “The Hitman’s Bodyguard,” “Imitation Game,” “Lone Survivor,” “Book Club,” “Transporter 3,” “King Richard,” “Maurice the Tomcat” and the recently released “One Life” among others.
“For over 60 years, Telepool has been one of the leading global content houses and we are proud of the work we did with the company,” said Westbrook CEO Kosaku Yada.
- 5/8/2024
- by Elsa Keslassy and Leo Barraclough
- Variety Film + TV
This holiday season is one where the offspring of iconic Hollywood families come together, apparently.
“Christmas Eve in Miller’s Point,” which is set to debut in the Director’s Fortnight at Cannes, stars Francesca Scorsese and Sawyer Spielberg, two film stars in their own rite who hail from respective auteurs Martin Scorsese and Steven Spielberg.
Decade-plus indie staple Michael Cera leads the latest feature directed by Tyler Taormina; Cera also produces the ensemble family dramedy that marks Taormina’s follow-up to his 2019 coming-of-age comedy “Ham on Rye.”
Set during one Christmas Eve, a family gathers for what could be the last holiday in their ancestral home. As the night wears on and generational tensions arise, one of the teenagers sneaks out with her friends to claim the wintry suburb for her own, per the official synopsis. Cera is seen donning a cop uniform in one of the first look images,...
“Christmas Eve in Miller’s Point,” which is set to debut in the Director’s Fortnight at Cannes, stars Francesca Scorsese and Sawyer Spielberg, two film stars in their own rite who hail from respective auteurs Martin Scorsese and Steven Spielberg.
Decade-plus indie staple Michael Cera leads the latest feature directed by Tyler Taormina; Cera also produces the ensemble family dramedy that marks Taormina’s follow-up to his 2019 coming-of-age comedy “Ham on Rye.”
Set during one Christmas Eve, a family gathers for what could be the last holiday in their ancestral home. As the night wears on and generational tensions arise, one of the teenagers sneaks out with her friends to claim the wintry suburb for her own, per the official synopsis. Cera is seen donning a cop uniform in one of the first look images,...
- 5/6/2024
- by Samantha Bergeson
- Indiewire
London- and Paris-based production, finance and sales outfit Film Constellation has boarded international sales on Titus Kaphar’s drama “Exhibiting Forgiveness.”
The film received strong reviews after its January premiere at Sundance in the U.S. Dramatic Competition section, and was picked up for North American distribution by Roadside Attractions, with plans for a wide theatrical release in the fall and awards campaign.
Film Constellation will screen the film for buyers in Cannes.
In the film, an artist finds his path to success derailed by an unexpected visit from his estranged father, a troubled man desperate to reconcile. Together, they learn that forgetting may be harder than forgiving.
The directorial debut of visual artist Kaphar, “Exhibiting Forgiveness” stars André Holland, Andra Day, John Earl Jelks and Aunjanue Ellis-Taylor.
Variety’s Owen Gleiberman gave the film a positive review, describing it as “a forceful drama free of feel-good fakery” and praising Holland’s performance as “fierce,...
The film received strong reviews after its January premiere at Sundance in the U.S. Dramatic Competition section, and was picked up for North American distribution by Roadside Attractions, with plans for a wide theatrical release in the fall and awards campaign.
Film Constellation will screen the film for buyers in Cannes.
In the film, an artist finds his path to success derailed by an unexpected visit from his estranged father, a troubled man desperate to reconcile. Together, they learn that forgetting may be harder than forgiving.
The directorial debut of visual artist Kaphar, “Exhibiting Forgiveness” stars André Holland, Andra Day, John Earl Jelks and Aunjanue Ellis-Taylor.
Variety’s Owen Gleiberman gave the film a positive review, describing it as “a forceful drama free of feel-good fakery” and praising Holland’s performance as “fierce,...
- 5/3/2024
- by Leo Barraclough
- Variety Film + TV
Sales and production house Film Constellation is launching world sales rights on U.S. comedy drama “Eephus,” directed by Carson Lund, set to world premiere in the Directors’ Fortnight section in Cannes in May.
In the film, as an imminent construction project looms over a beloved small-town baseball field, a pair of New England Sunday league teams face off for the last time over the course of a day. Tensions flare up and ceremonial laughs are shared as an era of camaraderie and escapism fades into an uncertain future.
“Eephus” is the feature directorial debut of American filmmaker Lund, who also has a cinematography credit on another Directors’ Fortnight title, “Christmas Eve in Miller’s Point.”
“Eephus” is produced by Lund, Tyler Taormina, Michael Basta, David Entin and Gabe Klinger for U.S.-based Omnes Films, in collaboration with executive producers Michael Tonelli, Ashish Shetty, Brian Clark and Jim Christman of Magmys.
In the film, as an imminent construction project looms over a beloved small-town baseball field, a pair of New England Sunday league teams face off for the last time over the course of a day. Tensions flare up and ceremonial laughs are shared as an era of camaraderie and escapism fades into an uncertain future.
“Eephus” is the feature directorial debut of American filmmaker Lund, who also has a cinematography credit on another Directors’ Fortnight title, “Christmas Eve in Miller’s Point.”
“Eephus” is produced by Lund, Tyler Taormina, Michael Basta, David Entin and Gabe Klinger for U.S.-based Omnes Films, in collaboration with executive producers Michael Tonelli, Ashish Shetty, Brian Clark and Jim Christman of Magmys.
- 4/18/2024
- by Leo Barraclough
- Variety Film + TV
Following the main lineups for the 2024 Cannes Film Festival, a handful of sidebar slates have been unveiled, featuring Directors Fortnight, Critics Week, and Acid. Notable highlights include the Sundance favorite Good One (read our review here), Tyler Taormina’s Christmas Eve in Miller’s Point starring Michael Cera, the first film in over a decade from James White director Josh Mond, the Christopher Abbott-led It Doesn’t Matter, Eat the Night from Jessica Forever duo Caroline Poggi & Jonathan Vinel, Carson Lund’s Eephus, Patricia Mazuy’s Visting Hours, The Hyperboreans, a new film from The Wolf House directors Cristobal Leo & Joaquin Cocina, Matthew Rankin’s The Twentieth Century follow-up Universal Language, and more.
Check out the lineups below.
Cannes Directors Fortnight
Feature films:
“Ma Vie Ma Gueule,” Sophie Fillieres (France) – opening film
“A Son Image,” Thierry de Peretti (France)
“Christmas Eve in Miller’s Point,” Tyler Taormina (USA)
“Desert of Namibia,...
Check out the lineups below.
Cannes Directors Fortnight
Feature films:
“Ma Vie Ma Gueule,” Sophie Fillieres (France) – opening film
“A Son Image,” Thierry de Peretti (France)
“Christmas Eve in Miller’s Point,” Tyler Taormina (USA)
“Desert of Namibia,...
- 4/16/2024
- by Jordan Raup
- The Film Stage
The Cannes Directors’ Fortnight section has unveiled its lineup for the 2024 festival, which will open with This Life of Mine, the final feature from the late French director Sophie Fillières. The drama features Agnès Jaoui as a woman whose identity starts to unravel when she turns 55. Fillières died shortly after wrapping principal photography on the film and her children finished post-production.
There are four U.S. titles in the feature section of the non-competitive sidebar: Tyler Taormina’s Christmas Eve In Miller’s Point, Carson Lund’s Eephus, India Donaldson’s Good One and Gazer from Ryan J. Sloan.
Christmas Eve in Miller’s Point, starring Michael Cera, Elsie Fisher, Francesca Scorsese. Ben Shenkman, Gregg Turkington, Sawyer Spielberg, Maria Dizzia and newcomer Matilda Fleming, follows four generations as they gather for what might be their last Christmas in the family home. Lund, who lensed Christmas Eve, makes his feature debut with Eephus,...
There are four U.S. titles in the feature section of the non-competitive sidebar: Tyler Taormina’s Christmas Eve In Miller’s Point, Carson Lund’s Eephus, India Donaldson’s Good One and Gazer from Ryan J. Sloan.
Christmas Eve in Miller’s Point, starring Michael Cera, Elsie Fisher, Francesca Scorsese. Ben Shenkman, Gregg Turkington, Sawyer Spielberg, Maria Dizzia and newcomer Matilda Fleming, follows four generations as they gather for what might be their last Christmas in the family home. Lund, who lensed Christmas Eve, makes his feature debut with Eephus,...
- 4/16/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
The 77th edition of Cannes’ Directors’ Fortnight will kick off with “This Life of Mine,” a dramedy directed by Sophie Fillières, a renowned French filmmaker who died last year. Presented posthumously, the film is headlined by French stars including Agnès Jaoui, Philippe Katerine and Valérie Donzelli. The independent selection, which has recently gone through a rebranding and is now spearheaded by artistic director Julien Rejl, will close with another French film, Jean-Christophe Meurisse’s “Plastic Guns,” an offbeat crime comedy headlined by popular actor Jonathan Cohen.
The lineup includes as many as four U.S. features, three of which are feature debuts, including India Donaldson’s coming-of-age film”Good One” which premiered at Sundance and garnered solid reviews. Set in upstate New York, “Good One” follows 17-year-old Sam as she joins her father and his oldest friend, Matt, on their annual backpacking trip in the Catskill Mountains. “Good One” has...
The lineup includes as many as four U.S. features, three of which are feature debuts, including India Donaldson’s coming-of-age film”Good One” which premiered at Sundance and garnered solid reviews. Set in upstate New York, “Good One” follows 17-year-old Sam as she joins her father and his oldest friend, Matt, on their annual backpacking trip in the Catskill Mountains. “Good One” has...
- 4/16/2024
- by Elsa Keslassy
- Variety Film + TV
Directors’ Fortnight has unveiled the selection for its 56th edition heavy on films from first-time US filmmakers, South American titles, and talent including Isabelle Huppert, Michael Cera and Agnès Jaoui.
Artistic director Julien Rejl revealed the line-up at a press conference in Paris on Tuesday (April 16) for the Cannes parallel section run by French directors guild the Srf.
Scroll down for the full selection
After undergoing a complete rebranding for last year’s edition complete with new artistic director Rejl and a new more inclusive female-forward name in French to La Quinzaine des Cinéastes, this year’s selection includes eight...
Artistic director Julien Rejl revealed the line-up at a press conference in Paris on Tuesday (April 16) for the Cannes parallel section run by French directors guild the Srf.
Scroll down for the full selection
After undergoing a complete rebranding for last year’s edition complete with new artistic director Rejl and a new more inclusive female-forward name in French to La Quinzaine des Cinéastes, this year’s selection includes eight...
- 4/16/2024
- ScreenDaily
Cannes parallel section Directors’ Fortnight has unveiled the line-up for its 56th edition running from May 15 to 23, at a press conference in Paris’ Forum des Images cultural center.
The section, launched in 1969 and overseen by the French Directors Guild, will present 21 feature films and 10 short films.
It is the second line-up overseen by Delegate General Julien Rejl, who took up the role last year.
Discoveries of his inaugural edition included Georgian director Elene Naveriani’s late coming-of-age drama Blackbird Blackbird Blackberry; U.S. indie film Riddle Of Fire by Weston Razooli, as well as Vietnamese filmmaker Phạm Thiên Ân’s 2023 Cannes Caméra d’Or winner Inside The Yellow Cocoon Shell.
The 2024 edition will open with late director Sophie Fillières’ final feature This Life of Mine, starring Agnès Jaoui as a woman whose sense of self starts to unravel as she turns 55.
Fillières died shortly after completing the shoot and her...
The section, launched in 1969 and overseen by the French Directors Guild, will present 21 feature films and 10 short films.
It is the second line-up overseen by Delegate General Julien Rejl, who took up the role last year.
Discoveries of his inaugural edition included Georgian director Elene Naveriani’s late coming-of-age drama Blackbird Blackbird Blackberry; U.S. indie film Riddle Of Fire by Weston Razooli, as well as Vietnamese filmmaker Phạm Thiên Ân’s 2023 Cannes Caméra d’Or winner Inside The Yellow Cocoon Shell.
The 2024 edition will open with late director Sophie Fillières’ final feature This Life of Mine, starring Agnès Jaoui as a woman whose sense of self starts to unravel as she turns 55.
Fillières died shortly after completing the shoot and her...
- 4/16/2024
- by Melanie Goodfellow
- Deadline Film + TV
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