Archive for August, 2014

Toronto Preview: David Dobkin’s ‘The Judge’

August 31st, 2014 - admin

David Dobkin’s latest feature, ‘The Judge’, starring Robert Downey Jr, Robert Duvall and Vera Farmiga, is his second to appear at Toronto and will be this year’s opener.  It has a potentially interesting twist on the court drama theme with a high powered lawyer returning home when his estranged father, the judge of the film’s title, becomes a murder suspect.  The film arrives in North American theatres shortly afterwards on October 10.

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Toronto Preview: Susanne Bier’s ‘A Second Chance (En chance til)’

August 31st, 2014 - admin

Susanne Bier, who won a best foreign language film Oscar with ‘In a Better World’, re-teams with regular screenwriter, Anders Thomas Jensen, for her latest feature, ‘A Second Chance’ (‘En chance til’).  Starring Nikolaj Coster-Waldau and Ulrich Thomsen, it has a hard drinking cynical detective confronting his demons after making a grim discovery during a junkie couple’s domestic dispute.  Bier has continued her collaboration with Jensen on the filmmaker’s Depression-era drama, ‘Serena’, which is currently in post production.

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Toronto Preview: Noah Baumbach’s ‘While We’re Young’

August 31st, 2014 - admin

Noah Baumbach’s latest feature, ‘While We’re Young’, looked odds-on for a Toronto world premiere after ‘Frances Ha’, ‘Margot at the Wedding’ and ‘The Squid and the Whale’ all screened at the festival.  It’s a comedy drama starring Ben Stiller, Naomi Watts, Adam Driver and Amanda Seyfried and has a young couple transforming the lives of a tetchy middle-aged filmmaker and his wife.  Former LCD Soundsystem’s frontman, James Murphy, provides the soundtrack after working on Baumbach’s ‘Greenberg’, which also starred Stiller.

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‘Guardians’ on course for easy repeat win

August 30th, 2014 - admin

Marvel/Disney ‘s superhero extravaganza, ‘Guardians of the Galaxy’, is set to retain the top spot at the North American box office after five weekends in play.  It grossed another $3.8m on Friday, which should translate to a solid $19m over the four-day holiday session.

 

Newcomer, ‘As Above/So Below’, was only $0.6m behind on Friday after a strong digital marketing campaign but also received a push from the usual horror genre front loading.  A miserable ‘C-‘ CinemaScore from the notoriously harsh marking horror crowd and unenthusiastic reviews – currently 30% on RT – will damage word-of-mouth but it is still on pace to hit $11m over the four days, slightly above market expectations.

 

‘Teenage Mutant Ninja Turtles’ will overtake it when the families turn out during the remainder of the session.  The adventure reboot earned a further $2.7m on Friday and looks set to finish its fourth weekend around a so-so $14.5m.

 

R.J. Cutler’s YA tearjerker, ‘If I Stay’ should also steal ahead of the horror flick after a $2.6m second Friday hold.  It looks set to finish just under $12m on Monday night.

 

The week’s other wide release, Roger Donaldson’s ‘November Man’, continued to disappoint since arriving on Wednesday evening.  The spy thriller took a soft $2.2m on Friday, leaving it facing a $10.5m extended session at the low end of distributor expectations.  Disappointing reviews – 35% on RT – and a decent ‘B+’ CinemaScore have largely cancelled each other out.

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‘November Man’ makes disappointing debut

August 29th, 2014 - admin

Roger Donaldson’s spy thriller, ‘November Man’, starring Pierce Brosnan, arrived in North American theatres on Wednesday night with a soft $862k and had to settle for fifth spot.  Disappointing reviews – currently only 35% on RT – will go some way to countering an encouraging ‘B+’ CinemaScore from first night audiences, leaving it on pace for grossing a modest $10m over the six-day session at the low end of distributor expectations.  The film, which carries a $20m production budget, is the follow up to Donaldson’s revenge thriller ‘Seeking Justice’.

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Release date for ‘Triple Nine’

August 28th, 2014 - admin

Open Road will release John Hillcoat’s corruption thriller, ‘Triple Nine’, on September 11, 2015, leaving it well placed for a world premiere at Venice or Toronto and an award season campaign.  It’s the follow up to Hillcoat’s Depression-era drama, ‘Lawless’ and depicts a dangerous double-crossing meltdown when the Russian mob coerce dishonest cops.  Hillcoat has assembled a stellar ensemble cast including Chiwetel Ejiofor, Casey Affleck, Woody Harrelson and Kate Winslet.

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Drafthouse and Participant Media take high profile doc

August 28th, 2014 - admin

Drafthouse Films and Participant Media have picked up US distribution rights to Joshua Oppenheimer’s ‘The Look Of Silence’, which premiered today in competition at the Venice International Film Festival.  It’s a companion piece to Oppenheimer’s Oscar nominated documentary, ‘The Act Of Killing’ but looks at Indonesian genocide from a very different perspective.  Once again, the executive producers include Werner Herzog and Errol Morris.

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Germany selects official candidate for best foreign language film Oscar

August 28th, 2014 - admin

Germany has selected Dominik Graf’s latest feature, ‘Beloved Sisters’, as its official submission for the best foreign language film Oscar.  Hannah Herzsprung (‘Four Minutes’), Henriette Confurius and Florian Stetter star in the ménage-à-trois drama surrounding the volatile philosopher, Friedrich Schiller, and two aristocratic but very different sisters.  It received a world premiere competing for the Golden Bear at Berlin International Film Festival.

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Lake Bell adapting bestseller

August 27th, 2014 - admin

Lake Bell will adapt Claire Messud’s critically acclaimed bestseller, ‘Emperor’s Children’, as the follow up to her debut feature, ‘In A World’, which won best screenplay at Sundance.  Noah Baumbach (‘Frances Ha’, ‘The Squid and the Whale’) adds to the creative mix by providing the script and it follows the interconnecting lives of three New York young professionals in the months preceding the World Trade Center attacks.  Brian Grazer’s Imagine Entertainment will produce.

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August 27th, 2014 - admin

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Mood Indigo

August 26th, 2014 - admin

The film’s best sequence ingeniously satirises German Expressionism when a huge elongated shadow comes a cropper after failing to keep up with its character frantically bolting across town.  It also precedes a significant change in the film’s pace from a bonkers idiosyncratic mayhem to a much slower and more muted tone that reflects the melancholic title taken from Duke Ellington’s early jazz classic of the same name.

 

The early scenes are entirely in keeping with Gondry’s artistic sensibility; their wacky inventiveness pushing capitalist consumer synergy to robotic extremes – an automated piano-cum-cocktail bar concocting alcoholic beverages in accord with the musical vibe – and finding a Tatiesque sidewards view of ‘modernity’ that deceptively transcends an apparent one-liner mentality.

 

A delightful love story unfolds that’s so light it could blow away; gently mocking filmic shorthand as prevalent in the French Nouvelle Vague as grand Hollywood musicals.  Who else but Gondry could come up with an extravagant sky high bubble car ride from a disused construction site.

 

And there is a fab take on French philosopher hero worship  – the curse of many a film theory – where a character’s devotion to the wonderfully named Jean-Sol Partre blends a celebrity-like obsession with blind religious acceptance.

 

But Gondry is no match for Duke, whose music makes up much of the soundtrack, when it comes to varying a theme.  As soon as a water lily grows in one of the lovers’ lungs, Gondry’s surrealism suddenly feels detached – old hat even – and the second chapter, as it were, begins to drag the more we move into a terminal illness weepy.

 

Audrey Tautou, doing an Audrey Hepburn routine, and an edgy Romain Duris are a better match than seemed likely as the leads.  And taking on Boris Vian’s surreal/absurd 1947 novel, ‘L’Ecume des Jours’ is commendable in itself.

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Films Distribution boards Venice Horizons’ title

August 25th, 2014 - admin

Films Distribution has boarded worldwide sales on Venice Horizons’ title, ‘Goodnight Mommy’, which is attracting attention.  It’s Veronika Franz’s and Severin Fiala’s fictional follow up to their documentary portrait ‘Kern’, and focuses on two young twins who suspect their bandaged mother of being an imposter.  Franz is best known for another collaboration, after co-writing ‘Dog Days’, ‘Import/Export’ and the ‘Paradise’ trilogy with Ulrich Seidl.

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Luc Besson’s scifi thriller wins int’l box office

August 25th, 2014 - admin

Luc Besson’s latest feature, ‘Lucy’, starring Scarlett Johansson and Morgan Freeman, grossed $34m from 43 markets in top position at the international weekend box office during a quiet session.  The sci-fi thriller boasted twelve  No.1’s, with Germany being the only holdover, and they included an outstanding $6.3m in Taiwan from just 69 locations.  The film now stands at $103m internationally, and after factoring in North America, $216m worldwide.

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Superhero extravaganza recaptures No.1 spot

August 25th, 2014 - admin

Disney/Marvel’s ‘Guardians of the Galaxy’ returned to the No.1 spot at the North American weekend box office after grossing a strong $17.6m over the three days.  The superhero extravaganza took its overall domestic tally to an impressive $251.9m after four weekends in play and became the summer season’s most successful film along the way.

 

Last weekend’s No. 1, ‘Teenage Mutant Ninja Turtles’, sneaked second place after being behind most of the weekend.  Paramount’s reboot grossed a so-so $16.7m during its third weekend and now stands on a domestic $145.5m.

 

R.J. Cutler’s big screen version of Gayle Forman’s YA bestseller, ‘If I Stay’, starring Chloë Grace Moretz, could not secure the top spot notwithstanding a lively start and an ‘A- CinemaScore’ from first night audiences.  It opened on a slightly disappointing $16.35m.

 

Sony TriStar’s sport drama, ‘When the Game Stands Tall’, also received an ‘A- CinemaScore’ that failed to make much impact beyond the genre faithful and it debuted in fifth place with $8.75m, fractionally below market expectations.

 

And the other wide weekend opener, Frank Miller‘s and Robert Rodriguez’s ‘Sin City: A Dame to Kill’, bombed.  The ‘R’-rated sequel failed to connect after a nine year delay since the original and could only muster an abysmal $6.35m.  A disappointing ‘B- CinemaScore’ did nothing for the film’s fortunes.

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August 25th, 2014 - admin

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Venice Preview: Wang Xiaoshuai’s ‘Red Amnesia’

August 24th, 2014 - admin

The ‘amnesia’ in the title of Wang Xiaoshuai’s latest feature references a collective/National memory loss as China’s transformation races ahead at breakneck speed.  A retired widow who receives disturbing anonymous phone calls, serves as an analogy for an invisible and divisive displacement and alienation in wider Chinese society.  Although Wang has screened more than once in Cannes’ and Berlin’s main competitions, it is the first time that he has competed for Venice’s Golden Lion.

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Venice Preview: Shinya Tsukamoto’s ‘Nobi’

August 24th, 2014 - admin

Shinya Tsukamoto is a familiar figure on the festival circuit after a career spanning forty years and he picked up the Horizons Award for ‘Kotoko’ during his last appearance at Venice three years ago.  His new feature adapts Shohei Ooka’s novel ‘Fires on the Plain’, which was the source material for Kon Ichikawa’s classic 1959 anti-war film of the same name.  Tsukamoto, himself, plays the delirious soldier who descends into the abyss towards the end of WW2.

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Close race at the top

August 24th, 2014 - admin

YA adaptation newcomer and superhero extravaganza go neck and neck during a soft weekend at the North American box office.

 

R.J. Cutler’s big screen version of Gayle Forman’s bestseller, ‘If I Stay’, starring Chloë Grace Moretz, slowed after a lively start and finished Friday night on a slightly disappointing $6.8m (including $1.1m from Thursday night previews).  This puts it on pace for a $16.5m weekend after factoring in both positive word of mouth from an ‘A- CinemaScore’ and genre front loading.

 

Disney/Marvel’s ‘Guardians of the Galaxy’ was $2m behind on Friday but should perform stronger on Saturday and Sunday for a tight weekend win.  It’s the film’s fourth week in play.

 

Sony TriStar’s sport drama, ‘When the Game Stands Tall’, opened with a $3m Friday and should gross a solid $10m+ over the weekend ahead of market expectations after receiving an ‘A- CinemaScore’

 

And the other wide weekend opener, Frank Miller‘s and Robert Rodriguez’s ‘Sin City: A Dame to Kill’, bombed with a truly appalling $2.6m.  The delayed ‘R’-rated sequel – nine years after the original – will struggle to hit $8m over the three days.  The ‘B- CinemaScore’ will not help word of mouth.

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Venice Preview: Joshua Oppenheimer’s ‘The Look of Silence’

August 23rd, 2014 - admin

Last year witnessed Venice’s jury awarding the Golden Lion to a documentary for the first time when Gianfranco Rosi’s ‘Sacro GRA’ took a significant step towards ending decades of prejudice against the non-fiction format.  And the current line-up has another potential documentary big hitter, Joshua Oppenheimer’s follow-up to his multi-award winning ‘The Act of Killing’.  Oppenheimer returns to Indonesian genocide but explores it from a completely different perspective.

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Venice Preview: David Oelhoffen’s ‘Loin des hommes’

August 23rd, 2014 - admin

David Oelhoffen adapts Albert Camus’ 1957 short story, ‘The Guest’ (L’Hôte’), which depicts a school teacher’s attempt to remain on the sidelines during the Algerian War after receiving unwanted responsibility for a prisoner.  Viggo Mortensen, who picked up a best actor Oscar nomination for his performance in ‘Eastern Promises’, plays the lead.  It’s Oelhoffen’s sophomore feature after ‘In Your Wake’ seven years ago.

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Venice Preview: Andrew Niccol’s ‘Good Kill’

August 23rd, 2014 - admin

Although this is Andrew Niccol’s sixth feature in the director’s chair, he remains best known as the sole writer of Peter Weir’s ‘The Truman Show’, which picked up a screenplay BAFTA win and Oscar, Golden Globe and WGA nominations.  ‘Good Kill’ is a ‘War on Terror’ thriller, where a drone pilot doubts the merits of fighting the Taliban by remote control.  Ethan Hawke re-teams with Niccol after they worked together on the filmmaker’s debut picture, ‘Gattaca’.

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Venice Preview: Francesco Munzi’s ‘Black Souls’ (‘Anime Nere’)

August 23rd, 2014 - admin

Francesco Munzi’s third feature, ‘Black Souls’ (‘Anime Nere’), depicts the lasting impact of organised crime at a local level.  One of the co-writers, Maurizio Braucci, received a writing credit on Abel Ferrara’s biopic, ‘Pasolini’, also screening in this year’s competition, and, more relevantly, Matteo Garrone’s frantic ‘Gomorra’, which deals with similar themes to ‘Black Souls’.  Munzi’s debut picture, ‘Saimir’, picked up a Luigi De Laurentiis Award special mention at Venice.

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Venice Preview: Kaan Müjdeci’s ‘Sivas’

August 23rd, 2014 - admin

Kaan Müjdeci’s ‘Sivas’ is the first Turkish film to compete for the Golden Lion since Semih Kaplan’s second instalment of the Yusuf trilogy, ‘Süt’ (‘Milk’) six years ago.  It marks Müjdeci’s debut and depicts a young boy’s relationship with his injured dog; an early contender for the Golden Canine.  Fatih Akın’s ‘The Cut’, another screening in the main completion, is a Turkish co-production.

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Venice Preview: Mario Martone’s ‘Il Giovane Favolos’

August 23rd, 2014 - admin

Mario Martone returns to Venice with a biopic of the influential 18th century Italian poet, Giacomo Leopardi, who suffered from a debilitating illness resembling Pott’s disease.  It’s Martone’s fourth time competing for the Golden Lion and he picked up the special jury prize with ‘Morte di un matematico napoletano’ at his first attempt.  The film receives an Italian theatrical release on October 16.

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Venice Preview: Andrei Konchalovsky’s ‘The Postman’s White Nights’

August 23rd, 2014 - admin

Experienced Russian filmmaker, Andrei Konchalovsky, competes in the main competition for the first time after winning the special jury prize with ‘House of Fools’ during the last of his previous three appearances twelve years ago.  Based on real-life stories, his latest feature follows various inhabitants of a secluded village where a postman is the only link to the outside world.  Konchalovsky has cast non-professional actors with some playing themselves.

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Venice Preview: Benoit Jacquot’s ‘Three Hearts’

August 23rd, 2014 - admin

After Lea Seydoux withdrew from the production following scheduling complications, Benoit Jacquot pursued Chiara Mastroianni to star alongside her mother, Catherine Deneuve, and Charlotte Gainsbourg.  The intriguing casting will add spice to the plot, which has two sisters encountering the same man without knowledge of the other’s association.  The film marks Jacquot’s fourth appearance competing for the Golden Lion.

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YA adaptation heading for top spot

August 23rd, 2014 - admin

R.J. Cutler’s YA adaptation of Gayle Forman’s bestseller, ‘If I Stay’, starring Chloë Grace Moretz, grossed a strong $1.1m from Thursday North American previews after arriving at 19.00.  Reviews were lukewarm – currently running at 41% on RT – but this is unlikely to impact on word of mouth.  With social media lively, it has a shot at exceeding the $20m mark over the weekend, which would be enough to claim the No. 1 spot.
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Venice preview: Alejandro G. Iñárritu’s ‘Birdman’

August 23rd, 2014 - admin

Alejandro G. Iñárritu’s keenly anticipated black comedy, ‘Birdman’, starring Michael Keaton, Edward Norton and Emma Stone, opens this year’s Venice on August 27.  It’s Iñárritu’s second film to compete for the Golden Lion after ’21 Grams’ eleven years ago, and Tim Burton’s Batman lead, Keaton, plays a washed-up former ‘superhero’ star reviving his career with a new Broadway play.  Fox Searchlight will release it stateside on October 17, shortly after the film closes the New York Film Festival.

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Venice Preview: David Gordon Green’s ‘Manglehorn’

August 23rd, 2014 - admin

David Gordon Green attempts to breathe new life into a familiar plot where the past complicates an ex-con’s new life in small town America.  A stellar cast, with Al Pacino playing the lead alongside Holly Hunter and Harmony Korine, must increase his chances.  It’s the second time that Green has competed for the Golden Lion after last year’s ‘Joe’.

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Release date for Jason Reitman’s social media drama

August 23rd, 2014 - admin

Jason Reitman’s keenly anticipated next feature, ‘Men, Women & Children’, will receive a limited U.S. release on October 1 before expanding.  Adapted from Chad Kultgen’s bestseller of the same name and starring Judy Greer, Adam Sandler and Jennifer Garner, it explores social media’s alienating impact on private lives across generations.  The film receives a world premiere at next month’s Toronto International Film Festival.

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Venice Preview: Abel Ferrara’s ‘Pasolini’

August 22nd, 2014 - admin

Abel Ferrara competes in Venice’s main competition for the sixth time with his latest feature, ‘Pasolini’, which has one film provocateur dramatising the final days of another.  Willem Dafoe reunites with Ferrara having starred in ‘New Rose Hotel’ ‘Go Go Tales’ and ‘4:44 Last Day On Earth’ and plays Pier Paolo Pasolini, whose murder almost forty years ago remains a mystery.  Time will tell whether Ferrara can shed any new light on it.

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Venice Preview: Alix Delaporte’s Le fernier coup de marteau’ (‘The Last Hammer Blow’)

August 21st, 2014 - admin

Alix Delaporte continues her collaboration with Grégory Gadebois and Clotilde Hesme, who received most promising actor and actress César awards for their performances in Delaporte’s debut feature, ‘Angel & Tony’.  Newcomer, Romain Paul, joins them in Delaporte’s follow up, ‘Le fernier coup de marteau’ (‘The Last Hammer Blow’) playing a young teenager meeting his symphony conductor father for the first time.  ‘Angel & Tony’ screened in Venice’s Critics’ Week and picked up the Michel d’Ornano award at the Deauville Film Festival.

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Joe

August 21st, 2014 - admin

A triumphant return to form for David Gordon Green, who breathes new life into the increasingly worn-out southern-Gothic sub-genre with this compelling Texan mood piece, which finds compassion and brutality cohabiting in America’s semi-lawless backwaters that time almost forgot.

 

Jeff Nichols did a similar thing with ‘Mud’ last year but Green does it even better and the talented Tye Sheridan plays a pivotal teenager in both who cannot defy his circumstances but deserves better.

 

This is something that the title character to this one, Joe, fully understands.  A deeply complex late forty something with a simplified outlook, his unpatronising response strikes a poignant note without drifting into the near unwatchable “that’s what I was like at his age” routine.

 

And Nicolas Cage delivers an intensely serious performance of great subtlety as the lead, toning it down in ways that have been a rarity during the last decade or so and befitting a character struggling to exercise constraint against his natural inclination.

 

Joe is a grizzled ex-con with eye catching tattoos, running a semi-legit tree felling business for big corporate bosses, unwilling to get their own hands dirty.  He treats his men fairly enough, participates in a ritualised banter that always feels like a distraction from a more general malaise and momentarily loses it with an asshole at the local watering hole or the cops before regaining his composure out of habit, which takes on its own weariness.  But he has a certain moral bearing – authority even – that disgusts him even more than his violent impulses and we cannot help but wonder what might happen if the two came together.

 

We find Sheridan’s dirt poor 15 year old Gary in the opening scene with his back turned to the audience and telling his destitute dad a few home truths – “selfish, mean drunk” – as they sit alongside rusty railway tracks.  His Dad, Wade, holds a blank expression before casually whacking Gary in the head and walking off impassively.  It feels like a momentous event but turns out to be an everyday occurrence with abuse being the old man’s main means of communication.

 

Non-professional actor, Gary Poulter plays Wade.  One of Austen’s homeless statistics when Green stumbled across him, Poulter was tragically found dead shortly after filming, lying face down in a pool of water.  There is something terrifyingly real about his performance – many actors spend their careers searching for Poulter’s world weary stare – and his character’s jaw-dropping encounter with another drunk is the most memorable of the film.

 

Joe becomes a quasi-father up to a point after hiring Gary for his forest gang – played by real casual labourers – but the plot is of no great significance.  The interaction between the characters is everything and it never fails to hit the mark.

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August 21st, 2014 - admin

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Venice Preview: Saverio Costanzo’s ‘Hungry Hearts’

August 21st, 2014 - admin

Italian filmmaker, Saverio Costanzo, returns to Venice with his first English-language feature, ‘Hungry Hearts’.  In demand, Adam Driver and Alba Rohrwacher, play a happily married couple thrown into turmoil when a spiritual guide advises that their unborn baby possesses special powers.  Costanzo competed for the Golden Lion with his last film, ‘The Solitude of Prime Numbers’.

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Venice Preview: Xavier Beauvois’ ‘La rancon de la gloire’

August 21st, 2014 - admin

Xavier Beauvois’ 1970’s set idiosyncratic comedy, ‘La rancon de la gloire’, was widely tipped for a world premiere at Cannes where his previous feature, ‘Of Gods and Men’ won the Grand Prix four years ago.  Instead, it has ended up at Venice where Beauvois has competed for the Golden Lion once before with the complex family drama, ‘To Matthieu’.  His latest has Benoît Poelvoorde playing an ex-con who plans to kidnap Charlie Chaplin’s corpse and collect a huge ransom from the legend’s family.

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Venice Preview: Rakhshan Bani-E’temad’s ‘Tales’

August 21st, 2014 - admin

Iranian filmmaker, Rakhshan Bani-E’temad, is one of only two women filmmakers competing for this year’s Golden Lion, alongside France’s Alix Delaporte.  The ‘tales’ of her latest film’s title focus on the disadvantaged at society’s margins, being a predominant theme in Bani-E’temad’s oeuvre.  Bani-E’temad is an established part of the Iranian new-wave and her films have regularly screened on the festival circuit.

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Venice Preview: Ramin Bahrani’s ’99 Homes’

August 21st, 2014 - admin

Ramin Bahrani’s sixth feature, ’99 Homes’, gives a potentially interesting twist to the current wave of recession dramas.  Andrew Garfield plays a debtor who accepts a job with the corrupt real estate broker responsible for foreclosing on his family home and becomes embroiled in a series of dodgy dealings.  Bahrani won the FIPRESCI prize in Venice’s parallel sections with ‘Goodbye Solo’ before competing for the Golden Lion with his last feature, ‘At Any Price’ two years ago.

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Venice Preview: Roy Andersson’s ‘A Pigeon Sat on a Branch Reflecting on Existence’

August 20th, 2014 - admin

The idiosyncratic title of Roy Andersson’s new feature, ‘A Pigeon Sat on a Branch Reflecting on Existence’ could not be more literal.  Andersson has taken the three birds who watch villagers skating on a frozen lake in arguably Bruegel’s most famous painting, ‘Hunters in the Snow’, as a starting point.  The pigeon in his film – a metaphorical Anderson – contemplates man’s failure to see an approaching apocalypse, which remains avoidable.  Andersson has referred to it as embodying the spirit of 1920’s New Objectivity – which found an approximate film form within G.W. Pabst’s street silents – but surreal may prove a more accurate description.

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Venice Preview: Fatih Akin’s ‘The Cut’

August 20th, 2014 - admin

Fatih Akin caused a stir earlier this year when he withdrew ‘The Cut’ from the Cannes Film Festival for personal reasons but amid rumours that it followed Thierry Frémaux’s refusal to guarantee the film a definite place in the main competition lineup.  It concludes his ‘Love, Death and the Devil’ trilogy after ‘Head-On’, a defining film of the German new-wave, and ‘The Edge of Heaven’,  which won best screenplay at Cannes and the European Film Awards.  Tahar Rahim plays an Armenian who crosses continents a hundred years ago searching for his daughters separated during ethnic cleansing of his people but it has obvious contemporary resonances in tackling displacement and racial hatred full on.  Time will tell whether Frémaux missed a trick.

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