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SLACK BAY Press Notes
SLACK BAY A film by Bruno Dumont Official Selection, Cannes Film Festival Competition 2016 / France / 122 min. / In French with English subtitles Press materials: www.kinolorber.com New York Publicity: Los Angeles Publicity: Charlie Olsky, Cinetic Marketing Sasha Berman, Shotwell Media [email protected] [email protected] 212-204-7951 310-450-5571 SYNOPSIS The bourgeois and extremely eccentric Van Peteghem family - among them Juliette Binoche, Fabrice Luchini, and Valeria Bruni Tedeschi - have settled in for another summer at their cliff-top villa overlooking the picturesque Slack Bay. Their leisurely rhythm of sunbathing and seaside constitutionals is soon interrupted by the arrival of two bumbling inspectors investigating a string of tourists gone missing (and serving full- on Keystone Kops). As the macabre mysteries mount and love blossoms between the family's genderqueer teen and the son of a local fisherman, Binoche and company ratchet the slapstick up to eleven. It's no wonder director Bruno Dumont (Li'l Quinquin, Camille Claudel 1915) cites Peter Sellers, Monty Python, and Laurel and Hardy as cinematic influences for his delightful foray into winking, absurdist farce. DIRECTOR’S STATEMENT I’ve wanted to make a comedy, but couldn’t find the right note, the right tune. I put this idea to the side for a long time; I made some other films, tackled some other genres. Then Arte asked me to direct a series. I had a free hand to do whatever I wanted, so I decided to embark on a cop comedy, but in my own, somewhat experimental way. I had the intuition that the drama had to drive the humor. -
SMALL CRIMES DIAS News from PLANET MARS ALL of a SUDDEN
2016 IN CannES NEW ANNOUNCEMENTS UPCOMING ALSO AVAILABLE CONTACT IN CANNES NEW Slack BAY SMALL CRIMES CALL ME BY YOUR NAME NEWS FROM NEW OFFICE by Bruno Dumont by E.L. Katz by Luca Guadagnino planet mars th Official Selection – In Competition In Pre Production In Pre Production by Dominik Moll 84 RUE D’ANTIBES, 4 FLOOR 06400 CANNES - FRANCE THE SALESMAN DIAS NEW MR. STEIN GOES ONLINE ALL OF A SUDDEN EMILIE GEORGES (May 10th - 22nd) by Asghar Farhadi by Jonathan English by Stephane Robelin by Asli Özge Official Selection – In Competition In Pre Production In Pre Production [email protected] / +33 6 62 08 83 43 TANJA MEISSNER (May 11th - 22nd) GIRL ASLEEP THE MIDWIFE [email protected] / +33 6 22 92 48 31 by Martin Provost by Rosemary Myers AN ArtsCOPE FILM NICHolas Kaiser (May 10th - 22nd) In Production [email protected] / +33 6 43 44 48 99 BERLIN SYNDROME MatHIEU DelaUNAY (May 10th - 22nd) by Cate Shortland [email protected] / + 33 6 87 88 45 26 In Post Production Sata CissokHO (May 10th - 22nd) [email protected] / +33 6 17 70 35 82 THE DARKNESS design: www.clade.fr / Graphic non contractual Credits by Daniel Castro Zimbrón Naima ABED (May 12th - 20th) OFFICE IN PARIS MEMENTO FILMS INTERNATIONAL In Post Production [email protected] / +44 7731 611 461 9 Cité Paradis – 75010 Paris – France Tel: +33 1 53 34 90 20 | Fax: +33 1 42 47 11 24 [email protected] [email protected] Proudly sponsored by www.memento-films.com | Follow us on Facebook NEW OFFICE IN CANNES 84 RUE D’ANTIBES, 4th FLOOR -
The World to Come
THE WORLD TO COME Directed by Mona Fastvold *World Premiere - 2020 Venice International Film Festival - Competition* PRESS CONTACTS US Press: Emilie Spiegel, [email protected] Intl Press: Claudia Tomassini, [email protected] SYNOPSIS In this frontier romance framed by the four seasons and set against the backdrop of rugged terrain, Abigail (Katherine Waterston), a farmer’s wife, and her new neighbor Tallie (Vanessa Kirby) find themselves powerfully, irrevocably drawn to each other. As grieving Abigail tends to the needs of her taciturn husband Dyer (Casey Affleck) and Tallie bristles at the jealous control of her husband Finney (Christopher Abbot), both women are illuminated and liberated by their intense bond, filling a void in their lives they never knew existed. Director Mona Fastvold (The Sleepwalker, co-writer of CHILDHOOD OF A LEADER and VOX LUX) examines the interior lives of two women resisting constraints, giving voice to their experiences. Scripted by Jim Shepard and Ron Hansen (The Assassination of Jesse James by the Coward Robert Ford), THE WORLD TO COME explores how isolation is overcome by the power of imagination and human connection. Q&A with Director Mona Fastvold First of all, tell me how the material came your way. It’s an interesting pairing of a novelist adapting a short story — was this a script that came to you fully formed? The script came to me from one of our producers, Whitaker Lader, who had seen my previous film. She and Casey had been developing the script with the screenwriters, Ron Hansen and Jim Shepard, for some time. I was immediately struck by it. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Kering and the Festival De Cannes Will Present the 2017 Women in Motion Award to Isabelle Huppert the Young Talents Award Will Be Presented to Maysaloun Hamoud
Kering and the Festival de Cannes will present the 2017 Women in Motion Award to Isabelle Huppert The Young Talents Award will be presented to Maysaloun Hamoud International film icon Isabelle Huppert will receive the third Women in MotionAward presented by Kering and the Festival de Cannes. Isabelle Huppert has chosen director and scriptwriter Maysaloun Hamoud to receive the Young Talents Award. François-Henri Pinault, Chairman and CEO of Kering, Pierre Lescure, President of the Festival de Cannes, and Thierry Frémaux, General Delegate of the Festival of Cannes, will present these awards during the official Women in Motion dinner on Sunday, 21 May 2017. Credits: Brigitte Lacombe For the third Women in Motion programme, official partner Kering and the Festival de Cannes will present the Women in Motion Award to French actress Isabelle Huppert. Exceptionally free-spirited and bold, Isabelle Huppert has taken many artistic risks in her career, and whilst acting with leading names, she has successfully established her own style in a variety of registers ranging from drama to comedy. She has pushed back boundaries with the strong and far-from-stereotypical roles that she has played since the early days of her career. Whether being directed by legendary filmmakers or by a brilliant new generation of talented filmmakers, Isabelle Huppert is one of the most inspirational figures in the world of cinema. Isabelle Huppert has in turn chosen to honour Maysaloun Hamoud by awarding her the Young Talents prize. In 2016 this young Palestinian director and scriptwriter made her first feature film, In Between (Bar Bahar), which chronicles the daily lives of three young Palestinian women living in Tel Aviv, torn between family traditions and their desire for independence. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Catch-22 Star George Clooney Shares the Catalyst for His Long-Awaited Return to Television in Emmy® Magazine
FOR IMMEDIATE RELEASE CATCH-22 STAR GEORGE CLOONEY SHARES THE CATALYST FOR HIS LONG-AWAITED RETURN TO TELEVISION IN EMMY® MAGAZINE (NoHo Arts District, Calif. — May 10, 2019) — More than 58 years after the publication of Joseph Heller’s classic anti-war novel Catch-22, some of the biggest players in Hollywood are bringing the acclaimed story to a new audience. In the May 10 issue of the award-winning emmy magazine, series executive producer, director and star George Clooney, along with co-stars Kyle Chandler and Christopher Abbott, share the challenges of bringing one of the 20th century’s most renowned literary works to life. While many believed that turning the free-form narrative of Catch-22 into a linear, limited series couldn’t be done, Clooney, along with fellow executive producers Grant Heslov, Richard Brown and the late Steve Golin of Anonymous Content, and series writers, Luke Davies and David Michôd, were up for the challenge. They believed the timeliness of the source material would resonate with a 21st century audience. The six-hour limited series premieres on Hulu May 17. In “A Moral Mission,” the producers and writers share that they were struck by the many ways Catch-22 parallels the current political climate. “There’s an incredible dovetailing between the madness of Heller’s world that David and I tried to translate to the TV screen, and the madness of the world we wake up to every morning,” Davies says. Catch-22 marks the return to series television for Clooney, last seen two decades ago on the NBC drama ER. -
2020 Sundance Film Festival: 118 Feature Films Announced
FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro López; Ema, courtesy of Sundance Institute. Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions. -
Es Un Proyecto De
ES UN PROYECTO DE: festivalcinesevilla.eu Es un proyecto de: Alcalde de Sevilla Presidente del ICAS Juan Ignacio Zoido Álvarez Teniente Alcalde Delegada de Cultura, Educación, Deportes y Juventud Vicepresidenta del ICAS María del Mar Sánchez Estrella Directora General de Cultura María Eugenia Candil Cano Director del Festival de Cine Europeo de Sevilla José Luis Cienfuegos PROGRAMA DE MANO Edición y textos: Elena Duque Documentación: Antonio Abad Textos música: Tali Carreto Diseño e impresión: Avante de Publicidad (www.avantedepublicidad.com) Maquetación: Páginas del Sur UNA PUBLICACIÓN DEL ICAS Instituto de la Cultura y de las Artes de Sevillla Depósito Legal: SE 2038-2013 PRESENTACIÓN SECCIÓN OFICIAL 5 Las obras clave del 2013, el mejor cine europeo reconocido internacionalmente. LAS NUEVAS OLAS (FICCIÓN+NO FICCIÓN) 15 Los nuevos valores y las miradas singulares del cine europeo contemporáneo más refrescante. RESISTENCIAS 29 Cine español estimulante y combativo, producciones independientes que plantan cara a la crisis con ímpetu creativo. SELECCIÓN EFA 35 Las películas prenominadas a los premios de la European Film Academy, MARÍA DEL MAR SÁNCHEZ ESTRELLA sello de calidad indiscutible. TENIENTE ALCALDE DELEGADA DE CULTURA, EDUCACIÓN, DEPORTES Y JUVENTUD VICEPRESIDENta DEL ICAS SPECIAL SCREENING 43 Proyecciones especiales que acercan a Sevilla películas imperdibles. Hablar de Sevilla en otoño es hacerlo de cine europeo. De audacia SEFF PARA TODA LA FAMILIA 47 creativa, de tradición y de futuro, de apuesta por el talento y de Cine para pequeños y mayores, una selección de lo mejor del cine familiar europeo. comunión entre los sevillanos y sus espacios culturales. Y es así SEFF JOVEN 51 porque el Festival de Cine Europeo ha conseguido lo que el Ayun- El ritmo, el ardor y la fuerza de los años del frescor. -
Charles Péguy
Joan of Arc A film by BRUNO DUMONT Synopsis In the 15th century, both France and England stake a blood claim for the French throne. Believing that God had chosen her, the young Joan leads the army of the King of France. When she is captured, the Church sends her for trial on charges of heresy. Refusing to accept the accusations, the graceful Joan of Arc will stay true to her mission. Bruno Dumont’s decision to work with a ten-year-old actress re-injects this heroine’s timeless cause and ideology with a modernity that highlights both the tragic female condition and the incredible fervor, strength and freedom women show when shackled by societies and archaic virile orders that belittle and alienate them. ©3B Productions Cast Lise Leplat Prudhomme, Jean-François Causeret, Daniel Dienne, Fabien Fenet, Robert Hanicotte, Yves Habert. With the kind participation of Fabrice Luchini and Christophe. Crew Director & Screenwriter: Bruno Dumont Make Up: Simon Livet Based on novels by Charles Péguy Hair: Clément Douel Music Composer: Christophe Costume Design: Alexandra Charles Producers: Jean Bréhat, Rachid Bouchareb, Set Designer: Erwan Legal Muriel Merlin Location Manager: Edouard Sueur Line Producer: Cédric Ettouati Still Photographer: Roger Arpajou Cinematographer: David Chambille Script Supervisor: Virginie Barbay A 3B Productions. With the participation of Sound: Philippe Lecœur Pictanovo and the support of La Région Hauts Mixing: Emmanuel Croset de France with the participation of the Centre Sound Editor: Romain Ozanne National du Cinéma et de l’Image Animée. In Editors: Bruno Dumont and Basile Belkhiri association with CINECAP 2. First Assistant: Rémi Bouvier World Sales: Luxbox Casting: Clément Morelle French Distribution: Les Films du Losange Dialogue Coach: Julie Sokolowski ©3B Productions 2019, 138 minutes, France, Color 1.85 - 5.1 – French AN INTERVIEW WITH THE DIRECTOR Bruno Dumont Joan is the sequel to Jeannette and the two films form the Péguy wrote a text that was precise in the field of ideas and very lyrical adaptation of a play by Charles Péguy. -
Lo Sguardo (Dis)Umano Di Bruno Dumont
Lo sguardo (dis)umano di Bruno Dumont Alberto Scandola «La cinematografia – ha dichiarato Bruno Dumont – è disumana. […] È la materia delle nostre vite, è la vita stessa, presente e rappresentata»1. Sin dagli esordi (L’età inquieta, 1997), Bruno Dumont ha posto al centro della sua attenzione l’umano e soprattutto le sue derive verso l’animale, il selvaggio, il bestiale. Liberi di non significare altro che loro stessi e il loro opaco Dasein, i corpi di questo cinema abitano luoghi dove – penso a L’humanité (1999) – il visibile altro non è che il riflesso dell’invisibile e l’immagine sembra lottare contro il suono. Conflitti come quello tra i volumi e i rumori (l’ansimare dettagliato di un corpo ripreso in campo lunghissimo, per esempio), frequenti soprattutto nella prima fase della produzione, sono finalizzati a evidenziare la testura di un dispositivo a cui l’autore da sempre affida una precisa funziona catartica: Bisogna sviluppare il sistema immunitario dello spettatore, biso- gna mettergli il male. Costui svilupperà naturalmente gli anticorpi. È lo spettatore che deve svegliarsi, non il film. Per me un film non è molto importante. Ciò che è importante è cominciare; poi tocca allo spettatore terminare2. Per poter «terminare», però, bisogna innanzitutto riuscire a guardare. Guardare immagini che, nel disperato tentativo di catturare le vita, offrono 1 B. Dumont in Ph. Tancelin, S. Ors, V. Jouve, Bruno Dumont, Éditions Dis Voir, Paris 2001, p. 12. Nostra traduzione. 2 B. Dumont in A. Scandola, Un’estetica della rivelazione. Conversazione con Bruno Du- mont, in Schermi D’Amore dieci+1, a cura di P.