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DÁVID JANCSÓ EDITOR FILM & TELEVISION EVOLUTION Director: Kornél Mundruczó Production Company: Match Factory Productions & Proton Cinema Official Selection, Cannes Film Festival (2021) PIECES OF A WOMAN Director: Kornél Mundruczó Production Company: BRON Studios, Netflix Nominated, Best Leading Actress, Academy Awards (2021) Nominated, Best Leading Actress, BAFTA Awards (2021) Official Selection, Toronto Film Festival (2020) Official Selection, Venice Film Festival (2020) THE WORLD TO COME Director: Mona Fastvold Production Company: Killer Films, Sony Pictures Official Selection, Sundance Film Festival (2021) Official Selection, Venice Film Festival (2020) TREADSTONE (Season 1) Director: Ramin Bahrani Production Company: USA Network JUPITER’S MOON Director: Kornél Mundruczó Production Company: Hungarian Film Fund Official Selection, Cannes Film Festival (2017) THE CHILDHOOD OF A LEADER Director: Brady Corbet Production Company: Bow & Arrow Entertainment & Unanimous Entertainment Winner, Best Debut Film and Best Director, Venice Film Festival (2015) LUX ARTISTS | 1 WHITE GOD Director: Kornél Mundrucó Production Company: The Match Factory Winner, Un Certain Regard Award, Cannes Film Festival (2014) Official Selection, Sundance Film Festival (2015) Official Selection, London Film Festival (2015) TERÁPIA Director: Various Production Company: HBO Hungary ESSENTIAL KILLING Director: Jerzy Skolimowski Production Company: HanWay Films Winner, Special Jury Prize, Berlin Film Festival (2010) Official Selection, Toronto Film Festival (2010) TENDER SON: THE FRAKENSTEIN PROJECT Director: Kornél Mundrucó Production Company: Essential Filmproduktion Official Selection, Berlin Film Festival (2010) Official Selection, Cannes Film Festival (2010) SO MUCH FOR JUSTICE! Director: Miklós Jancsó Production Company: Mythberf Film DELTA Director: Kornél Mundrucó Production Company: Proton Cinema Winner, FIPRESCI Prize, Cannes Film Festival (2008) Official Selection, Toronto Film Festival (2008) DIRECTOR/COMMERCIAL HENRIK HALLGREN C&A, Libero, Synsam FERNANDO VALLEJO Megafon SARAH PIROZEK Pampers MURIEL LACALMONTIE Naturella JONAS ELMER Tesco TOBIAS BERMANN McDonald’s LUX ARTISTS | 2.

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From Disney to Disaster: the Disney Corporation’S Involvement in the Creation of Celebrity Trainwrecks
From Disney to Disaster: The Disney Corporation’s Involvement in the Creation of Celebrity Trainwrecks BY Kelsey N. Reese Spring 2021 WMNST 492W: Senior Capstone Seminar Dr. Jill Wood Reese 2 INTRODUCTION The popularized phrase “celebrity trainwreck” has taken off in the last ten years, and the phrase actively evokes specified images (Doyle, 2017). These images usually depict young women hounded by paparazzi cameras that are most likely drunk or high and half naked after a wild night of partying (Doyle, 2017). These girls then become the emblem of celebrity, bad girl femininity (Doyle, 2017; Kiefer, 2016). The trainwreck is always a woman and is usually subject to extra attention in the limelight (Doyle, 2017). Trainwrecks are in demand; almost everything they do becomes front page news, especially if their actions are seen as scandalous, defamatory, or insane. The exponential growth of the internet in the early 2000s created new avenues of interest in celebrity life, including that of social media, gossip blogs, online tabloids, and collections of paparazzi snapshots (Hamad & Taylor, 2015; Mercer, 2013). What resulted was 24/7 media access into the trainwreck’s life and their long line of outrageous, commiserable actions (Doyle, 2017). Kristy Fairclough coined the term trainwreck in 2008 as a way to describe young, wild female celebrities who exemplify the ‘good girl gone bad’ image (Fairclough, 2008; Goodin-Smith, 2014). While the coining of the term is rather recent, the trainwreck image itself is not; in their book titled Trainwreck, Jude Ellison Doyle postulates that the trainwreck classification dates back to feminism’s first wave with Mary Wollstonecraft (Anand, 2018; Doyle, 2017).
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Pieces of a Woman
PIECES OF A WOMAN Directed by Kornél Mundruczó Starring Vanessa Kirby, Shia LaBeouf, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie, Jimmie Falls, Ellen Burstyn **WORLD PREMIERE – In Competition – Venice Film Festival 2020** **OFFICIAL SELECTION – Gala Presentations – Toronto International Film Festival 2020** Press Contacts: US: Julie Chappell | [email protected] International: Claudia Tomassini | [email protected] Sales Contact: Linda Jin | [email protected] 1 SHORT SYNOPSIS When an unfathomable tragedy befalls a young mother (Vanessa Kirby), she begins a year-long odyssey of mourning that touches her husband (Shia LaBeouf), her mother (Ellen Burstyn), and her midwife (Molly Parker). Director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014) and partner/screenwriter Kata Wéber craft a deeply personal meditation and ultimately transcendent story of a woman learning to live alongside her loss. SYNOPSIS Martha and Sean Carson (Vanessa Kirby, Shia LaBeouf) are a Boston couple on the verge of parenthood whose lives change irrevocably during a home birth at the hands of a flustered midwife (Molly Parker), who faces charges of criminal negligence. Thus begins a year-long odyssey for Martha, who must navigate her grief while working through fractious relationships with her husband and her domineering mother (Ellen Burstyn), along with the publicly vilified midwife whom she must face in court. From director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014), with artistic support from executive producer Martin Scorsese, and written by Kata Wéber, Mundruczó’s partner, comes a deeply personal, searing domestic aria in exquisite shades of grey and an ultimately transcendent story of a woman learning to live alongside her loss.
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Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
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1 Cultural Daily Independent Voices, New Perspectives Life Itself – Roger Ebert, In Memoriam: Two Thumbs Up Sophia Stein · Wednesday, July 2nd, 2014 Life Itself is such a poetic and fitting way to honor Pulitzer-Prize winning film critic Roger Ebert, a man whose life was the movies and who brought the pleasure and power of the movies to so many of us. The phenomenal documentary is directed by Steve James (Hoop Dreams), with executive producers Steve Zillian (Moneyball) and Martin Scorsese (The Departed) at the helm. With such an accomplished core creative team interpreting his memoir, life and death, Roger Ebert is in great hands. The film offers insights about the function of cinema, the symbiotic relationship between artists and critics, the cut-throat professional competitiveness, the transformative power of love at any age, and how to stare death in the eye and meet that final curtain call at the end of the “third act” with acceptance and grace. “The movies are like a machine that generates empathy,” Roger instructs. It is impossible to leave the cinema without feeling such deep empathy, respect and appreciation for this luminary. Roger’s passion for cinema was infectious, and thanks to him, we all caught the cinema bug. I felt privileged to have seen the film for the first time during its premiere at Sundance Film Festival earlier this year. I took the opportunity to watch it a second time, just before conversing by phone with Roger’s equally brilliant wife, Chaz Ebert. Chaz spoke of how much she is looking forward to seeing the film in a theatre with a regular audience finally! — this Friday, July 4.
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FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415
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Benjamin Loeb Director of Photography
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Keep the Change
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Neo-Neo Realism.Rtfd
Link: http://www.nytimes.com/2009/03/22/magazine/22neorealism-t.html?_r=1 March 22, 2009 Neo-Neo Realism By A.O. SCOTT IT IS NOW ALMOST A YEAR SINCE “Wendy and Lucy” played in Cannes — not a watershed moment in the history of cinema, perhaps, but a quiet harbinger. Kelly Reichardt’s third feature, about the struggles of a young woman and her dog stranded in an Oregon town en route to Alaska, was certainly among the more admired ﬁlms in a strong festival, where it showed out of competition. But by the time it opened in New York last December, the movie, a modest, quiet, 80-minute study in loneliness and desperation, seemed like something more — not so much a premonition of hard times ahead as a conﬁrmation that they had arrived. “Wendy and Lucy,” with Michelle Williams in one title role (the other belonged to Reichardt’s dog), had a successful art-house run and found its way onto many critics’ year-end best-of lists (including mine). There was some talk of an Oscar nomination for Williams, who was so believably ordinary in her look and so rigorously un-actressy in her manner that you could easily forget her celebrity. But “Wendy and Lucy,” released by Oscilloscope Laboratories, a small and ambitious new distributor started by Adam Yauch, a member of the Beastie Boys, would have looked a little awkward alongside the other Academy Award nominees. It’s true that the big winner, “Slumdog Millionaire,” concerns itself with poverty and disenfranchisement, but it also celebrates, both in its story and in its exuberant, sentimental spirit, the magical power of popular culture to conquer misery, to make dreams come true.
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Man Push Cart
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99 Homes (Dir
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The New European Eurofile Cinema September 2020
36 September 10-September 16, 2020 The New European EurofilE cinEma JASON SOLOMONS reports from the Venice Film Festival on an event that is critical to the industry’s recovery from The films the pandemic, and details the new releases that ThaT will will lead the fightback ell, that was a surprise. help keep Yes, there were plenty of films showing at the 77th Venice Film Festival, and there was a competition for Wthe Golden Lion, but the biggest thing is that there was an event of such size and movie international reputation. There was a red carpet and people on it, front page pictures, plenty of journalists and TV crews and photographers from all over Europe, big stars, Aperol Spritzes in the bars, spaghetti vongole in the busy restaurants and packed (or half-packed), indusTry double-spaced, pre-booked screenings in the famous old 1,000+-seater cinemas, morning, afternoon and night. For 11 days. Whisper it, but it felt a bit like normal. Even if you couldn’t air kiss actresses or afloaT shake hands with film makers, or recognise old friends in their mask-and- sunglasses ensembles. And so what if I saw several films from behind steamed-up specs until I worked out how to breathe a bit easier behind the mask? The films, let’s face it, weren’t the best selection Venice has ever offered. In recent years, the Lido has kicked off the Oscar race and awards season buzz with opening films such as La La Land and Gravity and Birdman, and hosted winners such as The Shape of Water, Brokeback Mountain and Roma, and premiered performances by Helen Mirren in The Queen, or Frances McDormand in Three Billboards..., or Joaquin Phoenix in Joker.
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Vanessa Kirby Knows 'Pieces of a Woman' Is Tough. and Truthful - Los
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