Archive for October, 2014

WW2 drama wins weekend box office

October 20th, 2014 - admin

David Ayer’s R-rated WW2 drama, ‘Fury’, starring Brad Pitt and Shia LaBeouf, comfortably won the North American weekend box office after an impressive $23.5m debut from 3155 theatres.  The Pitt factor ensured a more even gender mix than is normal for this genre with women contributing 40% towards the total, giving the film some date movie status, particularly on Saturday night.  Positive word of mouth from strong reviews – 80% on RT – and a powerful ‘A-‘ CinemaScore should help keep it in the public eye as the award season builds momentum.


The Guillermo del Toro produced animation adventure, ‘The Book of Life’, also received a significant boost from an ‘A- CinemaScore’.  Hispanics accounted for almost a third of the audience as families drove it to a solid $17m opening weekend from 3,071 theatres.


The other weekend wide opener, ‘Best of Me’, starring Michelle Monaghan and James Marsden, finished the three days at the low end of market predictions on $10.2m from 2,936 theatres for the worst ever debut by a Nicholas Sparks adaptation.  Truly atrocious reviews – 8% on RT – went some way to minimising the impact of a good ‘B+’ CinemaScore’.


And last weekend’s No.1, ‘Gone Girl’, enjoyed another strong hold, grossing a further $17.8m in second place.  It now stands on $107m domestically after three weekends in play.

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October 20th, 2014 - admin

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‘Fury’ on pace for a $25m weekend win

October 19th, 2014 - admin

David Ayer’s R-rated WW2 drama, ‘Fury’, starring Brad Pitt and Shia LaBeouf, is heading for an easy win at the North American weekend box office after a strong $8.8m opening Friday (inc $1.2m Thursday night takings) from 3155 theatres.  With very good reviews – 80% on RT – and a powerful ‘A- CinemaScore driving word of mouth, the Oscar hopeful should finish the three days on an impressive $25m.


The Guillermo del Toro produced animation adventure, ‘The Book of Life’, also bagged an ‘A- CinemaScore’ after opening in 3,071 theatres.  It grossed a lively $4.9m on Friday (inc $330k from Thursday night), which should translate to an impressive three day $18m after the Hispanic family audiences arrive during the remainder of the weekend.


The other weekend wide opener, ‘Best of Me’, starring Michelle Monaghan and James Marsden, had to settle for a $4.1m Friday (inc $550K Thursday might takings) from 2,936 theatres.  A solid ‘B+’ CinemaScore’ will have more sway with the YA female target audience than the truly atrocious reviews – 7% on RT – and it should reach $11m by Sunday night.  This does not compare favourably with other Nicholas Sparks’ adaptations but it is not unexpected.


And last weekend’s No.1, ‘Gone Girl’, is in a tight race with ‘The Book of Life’ for second place after taking a further $5.5m on Friday.  It will pass the $100m domestic milestone during the session.



UPDATE ‘Fury’ and ‘The Book of Life’ were fractionally off Saturday expectations, giving revised forecasts of $24m and $17.5m respectively.


Fox and New Regency celebrated ‘Gone Girl’ passing the $100m milestone on Saturday night and it looks set to take second place after remaining on course for an $18m weekend.


‘Best of Me’ should still finish the session on $11m after performing in line with expectations on Saturday.

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IFC Films take Niccol’s controversial Venice title

October 18th, 2014 - admin

IFC Films have taken U.S. distribution rights to Andrew Niccol’s Venice competition title, ‘Good Kill’, which has already excited opposing views.  Ethan Hawke plays an Air Force drone pilot who cannot cope with the ethical dilemma of launching missiles on other territories remotely alongside living an otherwise normal life in suburban America.  Niccol is best known for writing Peter Weir’s ‘The Truman Show’ for which he received an Oscar nomination.

War drama makes a winning start

October 17th, 2014 - admin

David Ayer’s Oscar hopeful, ‘Fury’, starring Brad Pitt and Shia LaBeouf, grossed a strong $1.2m from Thursday night previews after arriving in 2,489 North American theatres at 19.00 on its way to what looks like a comfortable weekend win.  The war drama expands to 3,155 theatres today and should gross around the $25m mark over the three days following solid reviews – currently 77% on RT – and high pre-sales.  It carries a $68m production budget.

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Gone Girl

October 15th, 2014 - admin

A souped-up marriage melodrama masquerades as a mid-west gothic thriller in David Fincher’s mischievous adaptation of Gillian Flynn’s bestselling page turner, ‘Gone Girl’, which should come across as a paper thin parody or a routine TV crime series gone wrong but doesn’t.


This is the stuff of nightmares where clichés take on a new realism, and 24 hour sensational news coverage and rampant twitter hype become more important than the cops in establishing guilt.


It’s horrible but fascinating, forming a quasi-dystopian companion to his contemporary masterpiece, ‘Social Network’, answering some of the questions previously left in the air.


Ben Affleck and Rosamund Pike play Nick and Amy, former high flying New York journalists doing very little in backwater Missouri after falling foul of the economic meltdown.  It’s a breeding ground for domestic malaise, the couple feeling the weight of financial uncertainties and a polarising ennui but this can only partially explain Nick’s behaviour; a venomous loathing turned unbearable.


And when Amy goes missing on their fifth wedding anniversary, his barely concealed indifference fuels a familiar ‘guilty as should be charged’ media witch-hunt – pumping up the viewing figures – but the evidence is as slippery as Fincher’s editing.


It creates two time periods, informing and contradicting each other, easily giving us the slip as flashbacks dramatise Amy’s diary, a sugary account of the perfect husband turned dangerous misogynist from the ultimate unreliable narrator.  She was the inspiration for her mother’s successful children’s books – ‘Amazing Amy’ – and proved a chip off the old block when it comes to spinning a yarn.


The parallel stories – super smart plotting – take an intriguing turn when Amy’s bizarre wedding anniversary ritual, an Easter Egg style hunt with cringey clues, becomes something else.  Like a message from the dead, Nick follows the latest trail after her disappearance but the clues are now razor sharp, the stuff of a morality tale, providing a foil to the diary that feels far more real but reveals more about Amy turning the screw than Nick; a sinister Pandora moment.


Shifting from femme fatale twists to homme sociopath counters, which make ‘The Big Sleep’ seem comparatively straight-forward, fissures appear that, almost imperceptibly, provide unexpected insights into the marital breakdown; those apparent plot hooks, taking on double meanings in retrospect – it’s masterful.  And we are left with the living dead from Ingmar Bergman’s films past as Nick and Amy adopt personae as superficial as a Facebook page facade, giving a feeble approximation of themselves, which social media insists the other would want, demand even, but they simply paper over other cracks; a new self-deception for the 21st century.  What could have been a social media satire becomes a real tragedy with Nick and Amy disappearing into a prison of their making; ‘Scenes of a Marriage’ forever frozen.


Those who have seen Pike in ‘Barney’s Version’ will not be surprised by her captivating performance, giving real depth to a ‘stock character’ breaking out from its noir constraints.  Affleck does the same and both should be in the award season reckoning.  But, there is also some genuine ‘scene stealing’ in a good way from Tyler Perry as Nick’s (social) media savvy lawyer and Neil Patrick Harris as Amy’s Ivy League up his own arse ex;  both bringing some unexpected humour to the proceedings – pun intended.


It’s a film that defies the 150 minutes running time; positively racing by.

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Magnolia swoops for Golden Lion winner

October 15th, 2014 - admin

Magnolia has acquired U.S. distribution rights to Roy Andersson’s idiosyncratic comedy, ‘A Pigeon Sat on a Branch Reflecting on Existence’, which won this year’s Golden Lion at the Venice International Film Festival.  It’s the third part of a loose trilogy after ‘Songs From The Second Floor’ and ‘You The Living’ and continues Anderson’s look at what it means to be human from bizarre angles.  Magnolia plans a theatrical release next year.

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‘Marfa Girl’ receives surprise theatrical release

October 15th, 2014 - admin

Somewhat out of the blue, Breaking Glass has picked up North American distribution rights to Larry Clark’s Texas based drama, ‘Marfa Girl’, and plans a theatrical release early next year.  Larry Clark originally skipped traditional distribution after the film’s successful launch at the Rome Film Festival two years ago and made it available for streaming on his own website.  The film tackles ‘disaffected youth’ in small town America, updating some of his favourite themes from ‘Kids’ and ‘Bully’.

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Screen Media Films take Winterbottom’s Toronto title

October 14th, 2014 - admin

Screen Media Films have picked up US distribution rights to Michael Winterbottom’s psychological thriller, ‘The Face Of An Angel’, which premiered at Toronto International Film Festival.  Daniel Brühl plays a filmmaker researching a murder with similarities to the Meredith Kercher case when the victim is forgotten once the media circus arrives.  Paul Viragh (‘Sex & Drugs & Rock & Roll’) provided the screenplay.

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Modern Classics: Pedro Costa’s ‘Colossal Youth’ (‘Juventude Em Marcha’)

October 14th, 2014 - admin

It’s now eight years since Pedro Costa’s austere epic, ‘Colossal Youth’ (‘Juventude Em Marcha’), provoked a partial walkout during the film’s world premiere at Cannes, with his pared down minimalism and extreme long takes proving too much for an audience used to a less challenging ‘spoon fed’ diet.


The Film concludes Costa’s Fontáinhas trilogy after ‘Bones’ and ‘In Vanda’s Room’, and he returns to the Lisbon ghetto at the same time as its Cape Verdean inhabitants end a chapter in their own lives, making way for a wholesale slum demolition.


Non-professional actors play themselves recounting stories, shifting between faithful monologues and generalised approximations of a wider experience, with the tall and watchful Ventura – our guide – slowly drifting around the almost empty streets and randomly seeking out old friends, his spiritually adopted ‘children’.


Some have already relocated to the near-by off-white housing blocks at Casal Boba, a convenient dumping ground bearing faint traces of Le Corbusier’s urban dream but diluted to a familiar concrete conurbation; contemptuously dismissed by Ventura’s inverted Buñuellian gesture, pointing at non-existent spiders off-screen.


It’s here that he finds the title character from ‘In Vanda’s Room’ during scenes that feel like an intrusive look behind closed doors during a ‘fly on the wall’ documentary as Vanda reflects on her journey from drug addiction to methadone management.


Ventura’s reflections are very different; flashbacks informing arbitrary recollections and vice versa as memories of the past merge with a present looking back, destabilising our bearings.


He repeats a poetic love letter endlessly, each new context slightly changing its meaning until a personal loss takes on a more general lament, bemoaning a further eroding of his culture when any resistance would be futile.


But there’s absolute clarity when a security guard ejects him from an art gallery that he helped construct as a manual labourer years before; no more than a ‘pit so deep’ at the time of the letter.


And Costa’s own highly stylised aesthetic is no less painterly than the Rubens’ masterpieces that catch Ventura’s gaze, composing still life’s like a Dutch master, lending occasional dramatic excursions a forbidding Caravaggio chiaroscuro and, during moments of stunning ironic beauty, transforming concrete walls into a Malevich ‘white on white’ abstraction with a truly sublime incandescent light; each still being an artwork in its own right.


This is an extraordinarily rich and layered film with plenty to engage the active viewer during multiple viewings but, judging by the Cannes walkout, the lazy see nothing.

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‘Dracula Untold’ claims top spot internationally

October 14th, 2014 - admin

Universal’s horror reboot, ‘Dracula Untold’, starring Luke Evans, Sarah Gadon and Dominic Cooper, grossed a strong $33.9m in the No.1 spot at the international weekend box office.  It was active in 42 international markets and, as is often the case, Russia led the way with an impressive $9.6m debut.  The film now stands at an early $62.6m internationally, including a high $4.5m from IMAX screens.

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Rare R-rated repeat win

October 13th, 2014 - admin

‘Gone Girl’ became the first R-rated film since Martin Scorsese’s ‘Shutter Island’ to claim a repeat win at the North American weekend box office after coming from behind on Friday night for the second consecutive week.  Riding high on a serious award season buzz, it had slightly too much in the tank for newcomer, ‘Dracula Untold’ and finished Sunday night just over $26m, a good $4m above market expectations.  This takes the mystery drama to an impressive $80m domestically and it looks set for a sustained run at just the right time, falling a mere 29.5% from last week.


Universal’s ‘Dracula’ reboot, starring Luke Evans, made a flying start with a noteworthy $8.9m Friday and went on to take a strong $23.4m over the weekend after an ‘A-’ CinemaScore from the tough marking horror crowd mitigated against the usual genre front-loading.  It did, nevertheless, have the benefit of a full IMAX run, which earned a huge $4m for the second highest October tally ever behind last year’s ‘Gravity’.


Disney’s PG-rated adaptation of Judith Viorst’s 1972 bestseller, ‘Alexander And The Terrible, Horrible, No Good, Very Bad Day’, also received an ‘A-’ CinemaScore on its way to a $19.1m opening weekend, marginally above market predictions.  Unsurprisingly, families accounted for over two thirds of the audience and Disney will be expecting a decent domestic run.


And generous weekend audiences made it ‘A-’ CinemaScores for all wide openers with the ‘The Judge’ completing the hat trick.  But it was not enough to counter disappointing reviews – currently 47% on RT – or compete against the same mature audience as ‘Gone Girl’, and, in the end, David Dobkin’s Toronto opener could only muster a soft $13.2m over the three days.  Warner Bros. will be hoping that the film’s strong cast, including Robert Downey Jr, Robert Duvall and Vera Farmiga, will provide some momentum moving forward.

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‘Dracula Untold’ sets up another close battle

October 12th, 2014 - admin

Universal’s horror reboot, ‘Dracula Untold’, starring Luke Evans, arrived at the North American box office with an outstanding $8.9m Friday to set up another close contest for the weekend crown.  A powerful ‘A-‘ CinemaScore from the tough marking horror crowd will go some way to mitigating against the usual genre front-loading and it should finish the three days around the $25m mark.  It remains to be seen whether the film can hold off reigning champ, ‘Gone Girl’, which enjoyed a strong $8.2m second Friday and has the advantage of the studio’s target mature audience arriving on Saturday and Sunday.  ‘Gone Girl’ recovered from a Friday deficit last weekend to defeat New Line’s ‘The Conjuring’ spin-off horror, ‘Annabelle’, by a mere $0.4m and the smart money is on a similar outcome this time around.


Disney’s PG-rated adaptation of Judith Viorst’s 1972 bestseller, ‘Alexander And The Terrible, Horrible, No Good, Very Bad Day’, slightly exceeded expectations in third place with a solid $5m opening.  With family audiences turning out during the remainder of the weekend and first night audiences also awarding the film an ‘A-‘ CinemaScore, it has a shot at hitting $20m over the three days.


And David Dobkin’s surprise Toronto opener, ‘The Judge’, starring Robert Downey Jr, Robert Duvall and Vera Farmiga, made it a hat trick of newcomers receiving an ‘A-‘ CinemaScore’.  The R-rated legal drama needed a boost after underwhelming critics – reviews running at 47% on RT – and earning a soft $4.4m during Friday but with it being more sensitive to reviews than the other two wide openers, the film is heading for a disappointing $13.5m three day tally.  This would leave it in fifth place below ‘Annabelle’, which is on course for a $15m second weekend hold after adding a further $5.2m on Friday.

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Ostergaard’s Iron Curtain doc to open CPH:DOX

October 11th, 2014 - admin

Anders Ostergaard’s keenly anticipated Iron Curtain doc, ‘1989’, will open this year’s CPH:DOX (Nov 6-16) and receive simultaneous screenings throughout Denmark and in 15 European cities.  It’s the follow up to his Oscar, European Film Awards and PGA nominated ‘Burma VJ’ – one of the best docs during recent times – and focuses on an East German couple, who embarked upon an escape from the old Eastern Block just before the Berlin Wall came down.  A distinguished post screening panel will include Danish Prime Minister, Poul Nyrup.

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‘Dracula Untold’ to challenge Oscar hopeful

October 10th, 2014 - admin

The North American box office should continue to rebound from its worst September in six years, as David Fincher’s ‘Gone Girl’ prepares for another close weekend battle.  After holding off an unexpected challenge – just – from New Line’s ‘The Conjuring’ spin-off, ‘Annabelle’, the Oscar hopeful aims at being the first R-rated film to retain its crown since Martin Scorsese’s  ‘Shutter Island’.  The main threat comes from Universal/Legendary’s ‘Dracula Untold’, which is currently going neck and neck with ‘Gone Girl’ for the weekend’s highest pre-sales but we cannot completely rule out David Dobkin’s Toronto opener, ‘The Judge’, starring Robert Downey Jr, Robert Duvall and Vera Farmiga.  Somewhere around the $22m mark should be enough to win.

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Stone auctioning Edward Snowden biopic

October 9th, 2014 - admin

Oliver Stone and fellow producers have circulated the script for his potentially explosive ‘The Snowden Files’ amongst prospective distributors, ahead of the film entering production next January.  Joseph Gordon-Levitt will play the NSA whistleblower, Edward Snowden, who exposed the culture of mass U.S. government surveillance, before taking temporary asylum in Russia.  Snowden’s actions have divided opinion stateside and Stone’s film is likely to do the same.

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Sixteen Films developing Ken Loach doc

October 8th, 2014 - admin

A new documentary from Sixteen Films will explore the uncompromising fifty year career of Ken Loach, who shunned Hollywood many times on his way to winning over eighty awards, including the Palme d’Or for ‘The Wind That Shakes the Barley’.  The niche production company developed the documentary after discovering boxes of previously unseen archival material and has commissioned the filmmaker’s son, Jim Loach (‘Oranges and Sunshine’), to direct.  It will cover the social and political tensions that inspired Loach’s films, the battles he fought to get them made and assessments from detractors as well as supporters.

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Sokurov’s Louvre feature heading for early festival launch

October 7th, 2014 - admin

Alexander Sokurov is on course to complete his next feature, ‘Francofonia, Louvre Under German Occupation’, in readiness for a high profile launch at either Berlin or Cannes.  It’s the feature follow up to Sokurov’s ‘Faust’, winner of Venice’s Golden Lion three years ago, and explores the relationship between art and war in the Louvre from an oblique angle.  Sokurov famously filmed all of ‘Russian Ark’ in the Hermitage Museum.

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Ning Hao’s ‘No Man’s Land’ follow up wins int’l box office

October 7th, 2014 - admin

Ning Hao’s ‘Breakup Buddies’ comfortably won the international weekend box office after grossing another $38m over the three days.  It takes the comedy romance to a powerful $93.2m since arriving on September 30 with virtually all the proceeds coming from China.  It’s Ning’s follow up to his Berlin competition title, ‘No Man’s Land’.

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‘Gone Girl’ wins titanic box office battle

October 6th, 2014 - admin

In a rarity for the North American weekend box office, two R-rated openers, David Fincher’s Oscar hopeful, ‘Gone Girl’ and the low-budget horror, ‘Annabelle’, fought a titanic battle at the top, both massively exceeding market expectations.


With its target mature audience turning out in droves, 75% was over 25, ‘Gone Girl’ had just enough to claim the win after grossing a stunning $37.5m over the three days, a good $14m more than Fox’s estimate.  A triumphant New York Film Festival world premiere and strong reviews – currently 87% on RT – powered word of mouth but the film’s lower than expected ‘B’ CinemaScore remains a slight concern for long term momentum and the awards campaign.


‘Annabelle’, New Line’s ‘The Conjuring’ spin-off, defied the usual horror front loading trends, and simply carried on going after enjoying a bumper $15.5m Friday.  A powerful ‘B’ CinemaScore from the notoriously hard marking horror crowd – an ‘A-‘/’B+’ equivalent elsewhere – and a very quiet year for the horror genre generally, drove it to within $O.4m of ‘Gone Girl’.  This is against a $6.5m production budget and market forecasts around the $20m mark.


The weekend’s other wide opener, Freestyle’s bestseller adaptation, ‘Left Behind’, proved true to the film’s title in sixth place.  It could only muster an abysmal $6.3m after failing to connect with the film’s target ‘faith’ audience.


And last weekend’s No.1, ‘The Equalizer’, came third with a strong $18.7m for a modest 45% week-on-week fall.  It takes Sony’s TV reboot to an impressive $65m after two weekends in play.

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Wrekin Hill takes Ullmann’s Toronto title

October 5th, 2014 - admin

Wrekin Hill picks up US rights to Liv Ullmann’s big screen adaptation of August Strindberg’s classic play, ‘Miss Julie’, starring Jessica Chastain and Colin Farrell.  Ullmann transports the story to Ireland where Miss Julie and her father’s valet engage in a dangerous battle of the sexes and classes during a heated midsummer night.  It will arrive in theatres this coming December.

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‘Gone Girl’ on pace for Fincher record

October 5th, 2014 - admin

David Fincher’s Oscar hopeful, ‘Gone Girl’, starring Ben Affleck and Rosamund Pike, opened at the North American box office with a huge $13.2m Friday (inc $1.2m from Thursday previews).  This should translate to a stunning $36m weekend for Fincher’s highest ever debut and a good $13m ahead of Fox’s estimate.  An average ‘B’ CinemaScore will be a slight concern for long term momentum but the strong reviews – currently 87% on RT from a high 200 – are more likely to influence the film’s target mature audience.


New Line’s low budget R-rated horror ‘Annabelle’ did even better on Friday with a bumper $15.5m launch (inc $2.1m from Thursday previews) but it will not be enough to beat ‘Gone Girl’ over the weekend after allowing for the usual genre front loading.  Even so, a ‘B’ CinemaScore from the notoriously hard marking horror crowd – equivalent to an ‘A-‘/’B+’ elsewhere – will drive it towards a $32m weekend, better than any other horror debut this year.


The other weekend wide opener, Freestyle’s bestseller adaptation, ‘Left Behind’, starring Nicolas Cage, proved true to the film’s title in not connecting with its target ‘faith’ audience.  It could only muster a weak $2.3m on Friday, leaving the film facing a disappointing $7m over the weekend.


UPDATE ‘Gone Girl’ and ‘Annabelle’ performed stronger than expected on Saturday and both films are now tracking at $38m for the three days.


Capitalising on the mature audience’s preference for Saturday and Sunday viewing, ‘Gone Girl’ banked a further $15m during its second day in play.


‘Annabelle’ mitigated front loading with strong word of mouth for an outstanding $14m Saturday, a modest fall below 10%.


At last, giving the box office something to celebrate after a difficult summer, it will be the first time in two months that two films have debuted over $30m.

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Pernilla August’s ‘The Serious Game’ takes shape

October 3rd, 2014 - admin

Popular Swedish actor, Sverrir Gudnason (‘Monica Z’) is boarding Pernilla August’s big screen version of Hjalmar Söderberg’s 1912 novel ‘The Serious Game’.  It’s the follow up to her Venice Critics’ Week winner, ‘Beyond’, and focuses on two young lovers who have an affair later in life after marrying other partners.  ‘An Education’ director, Lone Scherfig, has raised the film’s profile by providing the script.

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A Spell to Ward Off the Darkness

October 3rd, 2014 - admin

A seven minute panoramic 360-degree enabling shot, filmed on a remote lake, barely seen at dusk beyond occasional ripples coming in and out of focus, ushers us into this meditative feature with an ethereal opening to rival the cosmic journeys through darkness bookending Carlos Reygadas’ ‘Silent Light’.


This is a collaboration from like minded filmmakers/artists, Ben Rivers and Ben Russell, which, unsurprisingly, defies easy classification, sitting somewhere between experimental film, free association documentary and video art and it’s not for anybody who thinks that this matters one jot.


Nor is it for those concerned with the niceties of differentiating one filmmaker’s contribution from the other; such pedantic distractions completely missing the point.


There are no footholds here with musician, Robert Aiki Aubrey Lowe (aka Lichens), only gradually emerging as a dominant figure or, at least, a constant thread; sometimes interchanging between the film’s enigmatic subject, lead actor and notional guide, and others, being all three simultaneously, during an odyssey that takes us to three non-secular enclaves or pseudo nirvanas – dependent on your point of view – but it’s unimportant which.


And their countries of origin remain a mystery until the end credits, the filmmakers more concerned with global themes emanating from the film’s intriguing title.


A commune in Estonia strives for a hedonistic antidote to contemporary alienation that’s a throwback to the hippie Sixties but its group spirituality comes across as strangely isolating, always slightly beyond Lowe’s and other members’ reach.


Sublime long takes find the musician seeking and apparently finding solace in solitude fending for himself at a deserted lakeside Finnish wood; yet little mementoes of the outside world – a photograph here or a magazine there – hint at a lonelier seclusion.


And flashing strobe lights pick him out wearing a tribal white-painted face/mask in the 30 minute final section performing with a Norwegian death-metal band; their deep screeching vocals – Satanic screams – blast beat percussion and atonal thematic variations sending the underground audience into a hypnotic trance, an apparent shared spiritual state – a possible spell to ward off darkness – but as soon as the filmmakers expunge the music from the soundtrack, we see the fans engaging with it very individually, as alone as everybody else within the film.


In not finding the exception that proves the rule this beautifully lit film does create a different shared experience, capturing what it feels like for all of us to view the world as if in exile.

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Cinema Guild picks up Pedro Costa’s latest feature

October 2nd, 2014 - admin

Cinema Guild has taken North American distribution rights to Pedro Costa’s latest cinematic tone poem, ‘Horse Money’, which won best director at this year’s Locarno Film Festival.  Costa continues his unique exploration of the marginalised Verdean immigrants living in Lisbon’s rundown Fontainhas neighbourhood with enigmatic actor, Ventura, returning from ‘Colossal Youth’.  It will receive a U.S. premiere at the New York Film Festival before arriving in theatres next year.

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Van Sant wraps shot on ‘The Sea Of Treas’

October 2nd, 2014 - admin

Gus Van Sant has completed filming on his next feature, ‘The Sea Of Trees’,  based upon Chris Sparling’s original Black List screenplay.  Matthew McConaughey and Ken Watanabe play two strangers who stare into the abyss until undergoing a transformative experience in Japan’s mysterious Aokigahara forest.  New international venture, Bloom, sold out world pre-sales after launching the film at Cannes.

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October 1st, 2014 - admin

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