‘Ripley’ Review: Andrew Scott and Dakota Fanning in Netflix’s Moody Fresh Take on Patricia Highsmith
The Italy of Anthony Minghella’s remarkable 1999 adaptation of The Talented Mr. Ripley is positively bursting with la dolce vita.
It’s an ebullient and passionate world of religious and artistic fervor and when Matt Damon’s Tom Ripley begins to kill to secure his place in that world, he does so with the improvisational flair of the Blue Note jazz albums he studied to help him assimilate. And who could blame Damon’s Ripley for desiring, by any means necessary, to stay? As photographed by the great John Seale, the entire cast of The Talented Mr. Ripley practically glows. Not to justify serial murder, but who among us wouldn’t kill to spend just a little more time close to this version of Jude Law, much less to become him?
Steven Zaillian’s Netflix take on Patricia Highsmith’s novel has done away with the titular modifier. In Ripley,...
It’s an ebullient and passionate world of religious and artistic fervor and when Matt Damon’s Tom Ripley begins to kill to secure his place in that world, he does so with the improvisational flair of the Blue Note jazz albums he studied to help him assimilate. And who could blame Damon’s Ripley for desiring, by any means necessary, to stay? As photographed by the great John Seale, the entire cast of The Talented Mr. Ripley practically glows. Not to justify serial murder, but who among us wouldn’t kill to spend just a little more time close to this version of Jude Law, much less to become him?
Steven Zaillian’s Netflix take on Patricia Highsmith’s novel has done away with the titular modifier. In Ripley,...
- 4/4/2024
- by Daniel Fienberg
- The Hollywood Reporter - Movie News
Warner Bros. has released the second trailer for George Miller’s “Furiosa”, the post-apocalyptic prequel to “Mad Max: Fury Road.” The film stars Anya-Taylor Joy as wasteland warrior princess Imperator Furiosa, a role originally plated by Charlize Theron in the 2015 series reboot.
The film follows a young Furiosa as she is ripped from her refuge in the Green Place of Many Mothers and, for the first time, forced to face the insanity of the desolate world beyond. Chris Hemsworth and Tom Burke star alongside Taylor-Joy.
The new trailer shows Taylor-Joy going full Furiosa by cutting her hair and wearing her robotic arm prosthetic. It begins with a flashback to an even younger Furiosa getting kidnapped by a gang of marauders on motorbikes. As a young adult, she then goes on a revenge rampage against Hemsworth’s unnamed ringleader. Just like “Fury Road,” there is plenty of car carnage and wasteland weirdos teased in the trailer.
The film follows a young Furiosa as she is ripped from her refuge in the Green Place of Many Mothers and, for the first time, forced to face the insanity of the desolate world beyond. Chris Hemsworth and Tom Burke star alongside Taylor-Joy.
The new trailer shows Taylor-Joy going full Furiosa by cutting her hair and wearing her robotic arm prosthetic. It begins with a flashback to an even younger Furiosa getting kidnapped by a gang of marauders on motorbikes. As a young adult, she then goes on a revenge rampage against Hemsworth’s unnamed ringleader. Just like “Fury Road,” there is plenty of car carnage and wasteland weirdos teased in the trailer.
- 3/19/2024
- by Jack Dunn
- Variety Film + TV
Exclusive: The Murtha Skouras Agency, representing top below-the-line talent, has elevated longtime agents Hillary Cook and Karen Berch to Partner, founding partners Ann Murtha and Spyros Skouras announced on Friday.
Created in 2016 following the mergers of The Murtha Agency and The Skouras Agency, The Murtha Skouras Agency has had Cook and Berch serving in the film and television arm ever since.
“Hillary and Karen, longtime agents of The Murtha Skouras Agency, have been indispensable, passionate members of our team. Both possess a wealth of knowledge, experience and a deep commitment to promoting and celebrating the art of film,” Murtha and Skouras said in a joint statement. “They are also known for their honesty, integrity, unwavering dedication, exceptional work ethic, commitment to excellence, and professionalism. With these promotions, we are delighted to recognize their accomplishments – and future achievements.”
Recently, Cook and Berch saw client Arthur Max receive his fourth Oscar nomination...
Created in 2016 following the mergers of The Murtha Agency and The Skouras Agency, The Murtha Skouras Agency has had Cook and Berch serving in the film and television arm ever since.
“Hillary and Karen, longtime agents of The Murtha Skouras Agency, have been indispensable, passionate members of our team. Both possess a wealth of knowledge, experience and a deep commitment to promoting and celebrating the art of film,” Murtha and Skouras said in a joint statement. “They are also known for their honesty, integrity, unwavering dedication, exceptional work ethic, commitment to excellence, and professionalism. With these promotions, we are delighted to recognize their accomplishments – and future achievements.”
Recently, Cook and Berch saw client Arthur Max receive his fourth Oscar nomination...
- 3/15/2024
- by Matt Grobar
- Deadline Film + TV
“Oppenheimer” lenser Hoyte van Hoytema took top honors from the American Society of Cinematographers on Sunday. He edged out all four of his Oscar rivals for Best Cinematography: Edward Lachman (“El Conde”), Matthew Libatique (“Maestro”), Rodrigo Prieto (“Killers of the Flower Moon”) and Robbie Ryan (“Poor Things”).
Over its 38-year history, the ASC has predicted 152 of the 190 Oscar nominees, including four in 2019, 2020 and 2021 and all five this year and in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall,...
Over its 38-year history, the ASC has predicted 152 of the 190 Oscar nominees, including four in 2019, 2020 and 2021 and all five this year and in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall,...
- 3/4/2024
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on January 11 include only four of our five leading Oscar contenders for Best Cinematography: frontrunner Hoyte van Hoytema for “Oppenheimer”plus Matthew Libatique (“Maestro”), Rodrigo Prieto (“Killers of the Flower Moon”) and Robbie Ryan (“Poor Things”). Our other predicted nominee, Łukasz Zal (“The Zone of Interest”), got bumped by Edward Lachman (“El Conde”).
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll,...
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. Last year, it previewed three of the Best Cinematography contenders — Roger Deakins (“Empire of Light”), Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”). While Walker won over the ASC, she lost the Oscar to “All Quiet on the Western Front” lenser James Friend.
Indeed, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll,...
- 1/11/2024
- by Paul Sheehan
- Gold Derby
What a lovely day!
Director George Miller returns to the wasteland with “Furiosa,” the prequel to “Mad Max: Fury Road.” Warner Bros. released the first trailer for the action entry, which sees Anya Taylor-Joy shaving her head to take on the role of Imperator Furiosa, the fierce war captain that Charlize Theron played in the 2015 action film. The prequel, which is the fifth entry in Miller’s “Mad Max” franchise, follows a young Furiosa as she comes into her own after being taken away from the Green Place of Many Mothers and is immersed into a sinister world. Chris Hemsworth and Tom Burke also star in the film.
The new footage was unveiled at Ccxp, Brazil’s biggest Comic-Con event, on Thursday evening. An updated title, “Furiosa: A Mad Max Saga,” was also confirmed. Taylor-Joy and Hemsworth joined Miller onstage to preview the upcoming entry, discussing the monstrous gas-guzzling vehicles built for this adventure,...
Director George Miller returns to the wasteland with “Furiosa,” the prequel to “Mad Max: Fury Road.” Warner Bros. released the first trailer for the action entry, which sees Anya Taylor-Joy shaving her head to take on the role of Imperator Furiosa, the fierce war captain that Charlize Theron played in the 2015 action film. The prequel, which is the fifth entry in Miller’s “Mad Max” franchise, follows a young Furiosa as she comes into her own after being taken away from the Green Place of Many Mothers and is immersed into a sinister world. Chris Hemsworth and Tom Burke also star in the film.
The new footage was unveiled at Ccxp, Brazil’s biggest Comic-Con event, on Thursday evening. An updated title, “Furiosa: A Mad Max Saga,” was also confirmed. Taylor-Joy and Hemsworth joined Miller onstage to preview the upcoming entry, discussing the monstrous gas-guzzling vehicles built for this adventure,...
- 11/30/2023
- by EJ Panaligan and J. Kim Murphy
- Variety Film + TV
At five of the last 10 Oscars, Best Cinematography has gone hand-in-hand with Best Director: Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2024 Oscar predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity” first prevailed at the American Society of Cinematographers Awards,...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity” first prevailed at the American Society of Cinematographers Awards,...
- 9/12/2023
- by Paul Sheehan and Jacob Sarkisian
- Gold Derby
‘A haunting and compelling oddity from Australian
master Peter Weir… part mystery, part horror, an
impressionist poem to lost innocence’
★★★★★
Empire
‘The first true masterpiece of Australian cinema’
Philip French, The Observer
‘You can see its influences in everything… remains
[Peter Weir’s] most extraordinary work’
Mark Kermode
The internationally acclaimed Australian cinema classic Picnic At Hanging Rock established the now legendary, Peter Weir (The Truman Show, Dead Poets Society) as a major filmmaker and with BAFTA-winning photography and a memorably haunting score, it remains one of the most chillingly atmospheric and beautifully enigmatic films ever made. Now this seminal piece of cinema has received a stunning new Limited Edition 4K Uhd/Blu-ray release alongside Standard Editions on 4K Uhd and Blu-ray courtesy of Second Sight Films.
The film is presented in an impressive new Second Sight Films 4K scan and restoration from the original camera negative, which was supervised...
master Peter Weir… part mystery, part horror, an
impressionist poem to lost innocence’
★★★★★
Empire
‘The first true masterpiece of Australian cinema’
Philip French, The Observer
‘You can see its influences in everything… remains
[Peter Weir’s] most extraordinary work’
Mark Kermode
The internationally acclaimed Australian cinema classic Picnic At Hanging Rock established the now legendary, Peter Weir (The Truman Show, Dead Poets Society) as a major filmmaker and with BAFTA-winning photography and a memorably haunting score, it remains one of the most chillingly atmospheric and beautifully enigmatic films ever made. Now this seminal piece of cinema has received a stunning new Limited Edition 4K Uhd/Blu-ray release alongside Standard Editions on 4K Uhd and Blu-ray courtesy of Second Sight Films.
The film is presented in an impressive new Second Sight Films 4K scan and restoration from the original camera negative, which was supervised...
- 5/11/2023
- by Peter 'Witchfinder' Hopkins
- Horror Asylum
Cate Blanchett wore gold sequins and “Elvis” filmmaker Baz Luhrmann directed a group photo shoot at the Australian Oscars Nominees Reception held Thursday night in Hollywood at the Chateau Marmont penthouse.
The guest list also included Oscar nominees from “Elvis,” including Luhrmann, Dp Mandy Walker, costume designer Catherine Martin and producers Gail Berman, Schuyler Weiss and Patrick McCormick. Also joining in the festivities was filmmaker Lachlan Pendragon, director of “An Ostrich Told Me the World Is Fake and I Think I Believe It,” which is nominated for best animated short film. The event was hosted by Australian Consul-General Los Angeles Ambassador Jane Duke, Ausfilm, Screen Australia and Australians in Film (AiF)
Duke said the event is “a great opportunity to support and celebrate the Australian screen community’s creative brilliance and success, which has been recognized over many decades.”
She continued, “This year’s Academy Awards is no exception, with...
The guest list also included Oscar nominees from “Elvis,” including Luhrmann, Dp Mandy Walker, costume designer Catherine Martin and producers Gail Berman, Schuyler Weiss and Patrick McCormick. Also joining in the festivities was filmmaker Lachlan Pendragon, director of “An Ostrich Told Me the World Is Fake and I Think I Believe It,” which is nominated for best animated short film. The event was hosted by Australian Consul-General Los Angeles Ambassador Jane Duke, Ausfilm, Screen Australia and Australians in Film (AiF)
Duke said the event is “a great opportunity to support and celebrate the Australian screen community’s creative brilliance and success, which has been recognized over many decades.”
She continued, “This year’s Academy Awards is no exception, with...
- 3/11/2023
- by Jenelle Riley
- Variety Film + TV
“Elvis” lenser Mandy Walker became the first woman to take top honors from the American Society of Cinematographers on Sunday. She edged out two of her Oscar rivals for Best Cinematography — Roger Deakins (“Empire of Light”) who reaped his 17th bid, and Darius Khondji (“Bardo”) — plus last year’s winner with both the guild and the Oscars Greig Fraser (“The Batman”) and Claudio Miranda (“Top Gun: Maverick”). The other Oscar nominees are James Friend (“All Quiet on the Western Front”) and Florian Hoffmeister (“Tar”).
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall,...
Over its 37-year history, the ASC has predicted 147 of the 185 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall,...
- 3/6/2023
- by Paul Sheehan
- Gold Derby
At six of the last 10 Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2023 Oscars Best Cinematography predictions.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception” and “Gravity...
- 2/6/2023
- by Paul Sheehan
- Gold Derby
After pitting a knife-wielding Jennifer Lopez and a submachine gun-armed Jennifer Coolidge against a pack of wedding-crashing pirates in the rom-com/action mashup "Shotgun Wedding" (you can read our review of the film here), Prime Video is slowing things down a little in February. That month will see the release of the second and final season of the streamer's fantasy neo-noir series "Carnival Row," which is dropping nearly three and a half years after the first season launched in August 2019, in case you find yourself wondering (much like /Film's Valerie Ettenhofer), "Wait, so I didn't imagine the show where Orlando Bloom solves crimes and hooks up with pixie Cara Delevingne?" No, no you did not, but hey, at least now it has a proper ending!
In the absence of too many major new releases beyond that, Prime Video and Freevee viewers might want to spend February catching one of the...
In the absence of too many major new releases beyond that, Prime Video and Freevee viewers might want to spend February catching one of the...
- 1/25/2023
- by Sandy Schaefer
- Slash Film
The American Society of Cinematographers nominees announced on January 9 include only one of our five leading Oscar contenders for Best Cinematography: frontrunner Claudio Miranda for “Top Gun: Maverick.” The other four contenders are ASC stalwart Roger Deakins (“Empire of Light”) who reaped his 17th bid; last year’s winner with both the guild and the Oscars Greig Fraser (“The Batman”); Darius Khondji (“Bardo”) and Mandy Walker (“Elvis”).
This quartet figures in our top 10 but we are predicting that joining Miranda in the Oscar line-up will be Russell Carpenter (“Avatar: The Way of Water”); James Friend (“All Quiet on the Western Front”); Janusz Kaminski (“The Fabelmens”); and Linus Sandgren (“Babylon”).
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017.
However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler,...
This quartet figures in our top 10 but we are predicting that joining Miranda in the Oscar line-up will be Russell Carpenter (“Avatar: The Way of Water”); James Friend (“All Quiet on the Western Front”); Janusz Kaminski (“The Fabelmens”); and Linus Sandgren (“Babylon”).
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017.
However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 17 times:
Dean Semler,...
- 1/9/2023
- by Paul Sheehan
- Gold Derby
Cannes 2022: ‘Three Thousand Years of Longing’ by George MillerStarring Tilda Swinton and Idres Elba, a tale in the style of Arabian Nights or Aladdin where interracial love is finally allowed in the guise of mythology.
Life is a story we tell ourselves and Tilda Swinton, playing an uptight academic specializing in mythology lets her imagined self go as Edris Elba swoops her into a cosmic flux.
Going into this movie with a very critical eye, I wondered how George Miller, a white Australian male would view Tilda Swinton vis a vis her geni, Idris Elba. I wondered if there was a racial or racist slant and if so what would it be? I wondered if there would be an “Oriental”-ism in the depiction westerners of the 19th century used in painting the lushness of harems and cruelty of what was called “the Orient” under the rule of the Ottomon Empire. After all, Turkey is the place of mythology. But surprisingly, we see very little local color except then Alithea goes into the bazaar and buys the charming blown glass bottle which contains the geni, or “Djinn” in its native language.
Tilda Swinton plays Alithea, an uptight, charmingly eccentric scholar, on a trip to Istanbul who discovers a Djinn who offers her three wishes in exchange for his freedom.
Can Tilda Swinton hold her own opposite Idris Elba?
Can she really be a mythological figure visa vis another mythological being from another realm of reality. Is “realm” related to “reality”? Do we all live in realms of mythology in our lives as opposed to realms of realism?
Three thousand years of longing by whom? Ostensibly by the djinn and wished for by our protagonist as the geni tells her his story which excavates her (three centuries old?) layers of repression to reveal her own longing for sexual and loving fulfillment.
These were the questions I hoped this movie would answer as I let myself be drawn into its broad, brightly colored lines of development, visually well designed with a tune that suddenly seems to reflect a recurring theme of one’s own life: one’s own heartfelt wishes, long buried, revealing 3,000 years of longing. The music, composed by Junkie X, billed here as Tom Holkenborg is stunning. From the Song of Solomon (with a really unintendedly funny animated accompanist), to the theme song itself, the score complements the story without ever getting into its way.
The djinn’s story coincides with the fall of the Ottomon Empire where such stories (as I said) of Aladin or 1,001 Nights originated. If considered within the context of Western Civilization in which the Ottomon Empire was destroyed by the rise of Christianity, the story takes on a racial and racist slant. But we who are watching the movie do not have to deal with that. This is a tale told by a teller of tales.
And in the end, the Djinn (who is never given a proper name) cannot live in a white, christian, cleanly lit society. He must return to the darker realms where storytelling is an art, not a means of coping with life.
Tilda, the white savior of the geni, in her pure goodness, makes her third wish, one of seemingly self-sacrifice in the name of love; she wishes that he return to where he belongs and will thrive. He, in turn, rewards her with occasional returns so their love can continue but without interrupting her happy existence as an affluent, productive single white female.
Watch the trailer here.
I too could tell such a story, but in the realm of our “real” society, it is not so clean and clear but is strewn with rough, irreconcilable elements. This is clearly a love story between two opposites whose attraction/ separation has lasted three thousand years. It is a fairytale which fulfills a longing many of us have in our minds but which remains, as in this sweetly told movie, only a fairytale.
Don’t get me wrong. I loved the movie. I would put it into a category with Emma Thompson and Daryl McCormack’s Good Luck to You, Leo Grande, in which a retired school teacher, yearning for some adventure, and some sex hires a young sex worker named Leo Grande. It is a true “date movie” which, I am happy to report filled the Odeon Theater in Berlin on the Saturday night I saw it.
It is a brave move to make such a film in today’s environment. I do not think any American white male or female director would dare to tackle such a subject. Directed by George Miller on what must be a huge budget judging by the credits after the film, it is also co-written by Miller who wrote to lyrics to a song according to the credits but whose words I do not recall, though the theme melody is hauntingly beautiful. It is cowritten by Augusta Gore whose single credit on IMDb is this movie. I wonder if she pitched it to Miller. It is based upon the short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt.
Further kudos should go to the director of photography John Seale, known for Mad Max: Fury Road (2015), The English Patient (1996) and Witness (1985); the production designer Roger Ford, known for Babe (1995), Rabbit-Proof Fence(2002) and The Dressmaker (2015); the art directors Sophie Nash, known for The Nightingale (2018) and The Light Between Oceans (2016) and Nicholas Dare(Hacksaw Ridge); and the film editor Margaret Sixel, known for Mad Max: Fury Road (2015), Happy Feet (2006) and Babe: Pig in the City (1998). She has also been married to George Miller since 1995. They have two children.
Other notable below-the-line crew members include set decorator Lisa Thompson, costume designer Kym Barrett, and an extensive expensive makeup department: Lara Jade Birch…crowd hair supervisor / crowd makeup supervisor Terri Farmer…key hair stylist / key makeup artist Brydie Stone…key prosthetics artist Lesley Vanderwalt…hair designer / makeup designer Sheldon Wade…prosthetic artist
International sales agent FilmNation coproduced with U.S. studio-North American distributor United Artists Releasing / Metro-Goldwyn-Mayer (MGM)and licensed rights to
Ascot Elite Entertainment Group (2020) (Switzerland) (theatrical)BfParis (2022) (Argentina) (theatrical)Blue Lantern Entertainment International (2020) (Vietnam) (theatrical)Chantier (2020) (Turkey) (theatrical)Eagle Pictures (2020) (Italy) (theatrical)Golden Scene (2020) (Hong Kong) (theatrical)Hkc Entertainment (2022) (Pakistan) (theatrical)Idc (2020) (Aruba) (theatrical)Idc (2020) (Bolivia) (theatrical)Idc (2020) (Brazil) (theatrical)Idc (2020) (Colombia) (theatrical)Idc (2020) (Costa Rica) (theatrical)Idc (2020) (Dominican Republic) (theatrical)Idc (2020) (Ecuador) (theatrical)Idc (2020) (El Salvador) (theatrical)Idc (2020) (Guatemala) (theatrical)Idc (2020) (Honduras) (theatrical)Idc (2020) (Jamaica) (theatrical)Idc (2020) (Mexico) (theatrical)Idc (2020) (Nicaragua) (theatrical)Idc (2020) (Panama) (theatrical)Idc (2020) (Peru) (theatrical)Idc (2020) (Suriname) (theatrical)Idc (2020) (Trinidad & Tobago) (theatrical)Idc (2020) (Uruguay) (theatrical)Idc (2020) (Venezuela) (theatrical)Kino Films (2020) (Japan) (theatrical)Leonine (2020) (Germany and German speaking territories) (theatrical)Metropolitan Filmexport (2022) (France) (theatrical)Monolith Films (2020) (Poland) (theatrical)Monolith (2020) (Malta) (theatrical(Nk Contents (2022) (Korea) (theatrical)Nos Audiovisuais (2020) (Portugal) (theatrical)Nordisk Film (2020) (Denmark) (theatrical)Nordisk Film (2020) (Finland) (theatrical)Nordisk Film (2020) (Norway) (theatrical)Nordisk Film (2020) (Sweden) (theatrical)PVR Pictures (2020) (India) (theatrical)Roadshow (2020) (Australia/ N.Z.) (theatrical)Sam Film (2020) (Iceland) (theatrical)Shaw Organisation (2022) (Singapore) (theatrical)Tanweer Alliances (2022) (Greece) (theatrical)TriPictures (2020) (Spain) (theatrical)Vlg Filmai (2020) (Lithuania) (theatrical)Volga (2020) (Russia) (theatrical)DeAPlaneta (2020) (Spain) (all media)Leonine Distribution (2022) (Germany) (all media)Sunac (2022) (China) (all media)The Searchers (2022) (Benelux) (all media)Universal for rest of worldProduced by
Rachael Gill…associate producer Dean Hood…executive producer Craig McMahon…executive producer George Miller…producer (produced by) Doug Mitchell…producer (produced by) Kevin Sun…executive producer...
Life is a story we tell ourselves and Tilda Swinton, playing an uptight academic specializing in mythology lets her imagined self go as Edris Elba swoops her into a cosmic flux.
Going into this movie with a very critical eye, I wondered how George Miller, a white Australian male would view Tilda Swinton vis a vis her geni, Idris Elba. I wondered if there was a racial or racist slant and if so what would it be? I wondered if there would be an “Oriental”-ism in the depiction westerners of the 19th century used in painting the lushness of harems and cruelty of what was called “the Orient” under the rule of the Ottomon Empire. After all, Turkey is the place of mythology. But surprisingly, we see very little local color except then Alithea goes into the bazaar and buys the charming blown glass bottle which contains the geni, or “Djinn” in its native language.
Tilda Swinton plays Alithea, an uptight, charmingly eccentric scholar, on a trip to Istanbul who discovers a Djinn who offers her three wishes in exchange for his freedom.
Can Tilda Swinton hold her own opposite Idris Elba?
Can she really be a mythological figure visa vis another mythological being from another realm of reality. Is “realm” related to “reality”? Do we all live in realms of mythology in our lives as opposed to realms of realism?
Three thousand years of longing by whom? Ostensibly by the djinn and wished for by our protagonist as the geni tells her his story which excavates her (three centuries old?) layers of repression to reveal her own longing for sexual and loving fulfillment.
These were the questions I hoped this movie would answer as I let myself be drawn into its broad, brightly colored lines of development, visually well designed with a tune that suddenly seems to reflect a recurring theme of one’s own life: one’s own heartfelt wishes, long buried, revealing 3,000 years of longing. The music, composed by Junkie X, billed here as Tom Holkenborg is stunning. From the Song of Solomon (with a really unintendedly funny animated accompanist), to the theme song itself, the score complements the story without ever getting into its way.
The djinn’s story coincides with the fall of the Ottomon Empire where such stories (as I said) of Aladin or 1,001 Nights originated. If considered within the context of Western Civilization in which the Ottomon Empire was destroyed by the rise of Christianity, the story takes on a racial and racist slant. But we who are watching the movie do not have to deal with that. This is a tale told by a teller of tales.
And in the end, the Djinn (who is never given a proper name) cannot live in a white, christian, cleanly lit society. He must return to the darker realms where storytelling is an art, not a means of coping with life.
Tilda, the white savior of the geni, in her pure goodness, makes her third wish, one of seemingly self-sacrifice in the name of love; she wishes that he return to where he belongs and will thrive. He, in turn, rewards her with occasional returns so their love can continue but without interrupting her happy existence as an affluent, productive single white female.
Watch the trailer here.
I too could tell such a story, but in the realm of our “real” society, it is not so clean and clear but is strewn with rough, irreconcilable elements. This is clearly a love story between two opposites whose attraction/ separation has lasted three thousand years. It is a fairytale which fulfills a longing many of us have in our minds but which remains, as in this sweetly told movie, only a fairytale.
Don’t get me wrong. I loved the movie. I would put it into a category with Emma Thompson and Daryl McCormack’s Good Luck to You, Leo Grande, in which a retired school teacher, yearning for some adventure, and some sex hires a young sex worker named Leo Grande. It is a true “date movie” which, I am happy to report filled the Odeon Theater in Berlin on the Saturday night I saw it.
It is a brave move to make such a film in today’s environment. I do not think any American white male or female director would dare to tackle such a subject. Directed by George Miller on what must be a huge budget judging by the credits after the film, it is also co-written by Miller who wrote to lyrics to a song according to the credits but whose words I do not recall, though the theme melody is hauntingly beautiful. It is cowritten by Augusta Gore whose single credit on IMDb is this movie. I wonder if she pitched it to Miller. It is based upon the short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt.
Further kudos should go to the director of photography John Seale, known for Mad Max: Fury Road (2015), The English Patient (1996) and Witness (1985); the production designer Roger Ford, known for Babe (1995), Rabbit-Proof Fence(2002) and The Dressmaker (2015); the art directors Sophie Nash, known for The Nightingale (2018) and The Light Between Oceans (2016) and Nicholas Dare(Hacksaw Ridge); and the film editor Margaret Sixel, known for Mad Max: Fury Road (2015), Happy Feet (2006) and Babe: Pig in the City (1998). She has also been married to George Miller since 1995. They have two children.
Other notable below-the-line crew members include set decorator Lisa Thompson, costume designer Kym Barrett, and an extensive expensive makeup department: Lara Jade Birch…crowd hair supervisor / crowd makeup supervisor Terri Farmer…key hair stylist / key makeup artist Brydie Stone…key prosthetics artist Lesley Vanderwalt…hair designer / makeup designer Sheldon Wade…prosthetic artist
International sales agent FilmNation coproduced with U.S. studio-North American distributor United Artists Releasing / Metro-Goldwyn-Mayer (MGM)and licensed rights to
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Rachael Gill…associate producer Dean Hood…executive producer Craig McMahon…executive producer George Miller…producer (produced by) Doug Mitchell…producer (produced by) Kevin Sun…executive producer...
- 12/18/2022
- by Sydney
- Sydney's Buzz
Walter Murch discovered something. It’s strange.
At 79, the man who innovated sound design—for whom the credit “Sound Designer” was basically invented—has pioneered methods of film editing, and whose book In the Blink of an Eye remains a key text 27 years since publication could rest on his laurels. But one evening, looking at a supercut celebrating his own exercises of film theory, Murch noticed that almost every cinematic image of a human face—from his work or another’s—fell on a distinct space of the cinematic frame: the golden ratio, a proportion considered the most pleasing to the eye, revealing “cinematographers have tended to place the eyes of the actors, in closeups and many medium shots, along that dividing line.” It also recurs time and again across nature and—depending on who you ask—is the strongest known sign of evolution or intelligent design.
What’s going on here?...
At 79, the man who innovated sound design—for whom the credit “Sound Designer” was basically invented—has pioneered methods of film editing, and whose book In the Blink of an Eye remains a key text 27 years since publication could rest on his laurels. But one evening, looking at a supercut celebrating his own exercises of film theory, Murch noticed that almost every cinematic image of a human face—from his work or another’s—fell on a distinct space of the cinematic frame: the golden ratio, a proportion considered the most pleasing to the eye, revealing “cinematographers have tended to place the eyes of the actors, in closeups and many medium shots, along that dividing line.” It also recurs time and again across nature and—depending on who you ask—is the strongest known sign of evolution or intelligent design.
What’s going on here?...
- 12/1/2022
- by Nick Newman
- The Film Stage
Stars: Tilda Swinton, Idris Elba, Ece Yüksel, Zerrin Tekindor, Erdil Yaşaroğlu | Written by George Miller, Augusta Gore | Directed by George Miller
Dr. Alithea Binnie (Tilda Swinton) is an academic — content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom. This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.
There is most certainly a magical quality to George Miller‘s first film since 2015’s Mad Max Fury Road – his genuinely ambitious and sprawling Three Thousand Years of Longing. It is without...
Dr. Alithea Binnie (Tilda Swinton) is an academic — content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom. This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.
There is most certainly a magical quality to George Miller‘s first film since 2015’s Mad Max Fury Road – his genuinely ambitious and sprawling Three Thousand Years of Longing. It is without...
- 9/22/2022
- by Caillou Pettis
- Nerdly
Dir: George Miller. Starring: Idris Elba, Tilda Swinton, Alyla Browne, Aamito Lagum, Burcu Gölgedar, Matteo Bocelli, Kaan Guldur, Jack Braddy. 15, 108 minutes.
When Mad Max: Fury Road was released in 2015, it wasn’t merely a revelation – it was a revolution. In an era rife with mind-numbing franchise work, George Miller delivered a feature-length, dystopian car chase that slammed its foot on the pedal and never relented, all while unspooling a rich fable about women’s emancipation from under the boot of environmental collapse. The film found itself at the centre of many a fevered discussion about what cinema can look like at its most creatively liberated and immersive. Though Miller’s follow-up, Three Thousand Years of Longing, is an entirely different breed of film – a romantic fantasy about a djinn and the woman he’s magically bound to – its interest in the restorative power of storytelling follows in the same tradition.
When Mad Max: Fury Road was released in 2015, it wasn’t merely a revelation – it was a revolution. In an era rife with mind-numbing franchise work, George Miller delivered a feature-length, dystopian car chase that slammed its foot on the pedal and never relented, all while unspooling a rich fable about women’s emancipation from under the boot of environmental collapse. The film found itself at the centre of many a fevered discussion about what cinema can look like at its most creatively liberated and immersive. Though Miller’s follow-up, Three Thousand Years of Longing, is an entirely different breed of film – a romantic fantasy about a djinn and the woman he’s magically bound to – its interest in the restorative power of storytelling follows in the same tradition.
- 9/1/2022
- by Clarisse Loughrey
- The Independent - Film
John Seale was considering retirement a decade ago — then fellow Australian George Miller convinced the cinematographer to shoot “Mad Max: Fury Road.” Now, their partnership continues with the fantastical romance “Three Thousand Years of Longing.”
During production, Seale decided the two-hander, starring Idris Elba and Tilda Swinton, would be a “fascinating” film to cap his career, electing against reuniting with Miller for “Furiosa,” the filmmaker’s upcoming “Fury Road” prequel, which is currently in production.
“It was one of the hardest things I’ve ever done,” Seale recalled. “George said, ‘Well, I’m not going to ask you to do it.’ I thought to myself, ‘Ah great, now I don’t have to go through it all.’ Then he said, ‘I’m going to invite you.’ That one word — ‘invite’ — changed the whole thing and made it even harder.”
Seale has been a studio filmmaking staple since the 1980s. He...
During production, Seale decided the two-hander, starring Idris Elba and Tilda Swinton, would be a “fascinating” film to cap his career, electing against reuniting with Miller for “Furiosa,” the filmmaker’s upcoming “Fury Road” prequel, which is currently in production.
“It was one of the hardest things I’ve ever done,” Seale recalled. “George said, ‘Well, I’m not going to ask you to do it.’ I thought to myself, ‘Ah great, now I don’t have to go through it all.’ Then he said, ‘I’m going to invite you.’ That one word — ‘invite’ — changed the whole thing and made it even harder.”
Seale has been a studio filmmaking staple since the 1980s. He...
- 8/25/2022
- by J. Kim Murphy
- Variety Film + TV
Plot: A lonely woman discovers a Djinn locked away in his bottle. He offers her three wishes in exchange for his freedom.
Review: George Miller is a filmmaker who continues to impress. It’s impossible not to connect the man to the brilliant franchise around Mad Max. Yet people sometimes forget the variety in Miller’s work. The director has given us a heart with Babe: Pig in the City and heartbreak with Lorenzo’s Oil. And he even made a dancing penguin super sweet in Happy Feet. And now, Miller’s latest takes on another fantastical element, a genie in a bottle. Three Thousand Years of Longing is a fantasy starring Tilda Swinton as a lonely art scholar who finds an old bottle, one that holds a Djinn (Idris Elba). It’s a weird and slightly wild tale of two lonely souls discovering each other through magic.
Tilda Swinton is Alithea,...
Review: George Miller is a filmmaker who continues to impress. It’s impossible not to connect the man to the brilliant franchise around Mad Max. Yet people sometimes forget the variety in Miller’s work. The director has given us a heart with Babe: Pig in the City and heartbreak with Lorenzo’s Oil. And he even made a dancing penguin super sweet in Happy Feet. And now, Miller’s latest takes on another fantastical element, a genie in a bottle. Three Thousand Years of Longing is a fantasy starring Tilda Swinton as a lonely art scholar who finds an old bottle, one that holds a Djinn (Idris Elba). It’s a weird and slightly wild tale of two lonely souls discovering each other through magic.
Tilda Swinton is Alithea,...
- 8/25/2022
- by JimmyO
- JoBlo.com
In honor of Pride Month, we're highlighting a few Great Moments in Gay. Here’s Christopher James
Chess has never been this sexy.Few movies are as sexy as The Talented Mr. Ripley. John Seale’s cinematography holds its gaze on each of the beautiful stars throughout the movie. Sex drips off the screen at every moment. Though the film is predicated on the “murderous gay” trope in the end, Minghella and company do a great job on establishing and defining its characters attractions. The bathtub scene between Tom Ripley and Dickie Greenleaf is not a “Great Moment in Gay” just because you see Jude Law’s penis. It is doing dramatic work too, illuminating the power dynamics between Tom and Dickie and their characters, too. Plus, it bears repeating, it’s incredibly hot.
Spoilers and Nsfw Images to Follow…...
Chess has never been this sexy.Few movies are as sexy as The Talented Mr. Ripley. John Seale’s cinematography holds its gaze on each of the beautiful stars throughout the movie. Sex drips off the screen at every moment. Though the film is predicated on the “murderous gay” trope in the end, Minghella and company do a great job on establishing and defining its characters attractions. The bathtub scene between Tom Ripley and Dickie Greenleaf is not a “Great Moment in Gay” just because you see Jude Law’s penis. It is doing dramatic work too, illuminating the power dynamics between Tom and Dickie and their characters, too. Plus, it bears repeating, it’s incredibly hot.
Spoilers and Nsfw Images to Follow…...
- 6/27/2022
- by Christopher James
- FilmExperience
The highly-anticipated “Furiosa,” a spin-off from “Mad Max: Fury Road” has started filming.
Chris Hemsworth, one of the film’s stars, shared a post via social media saying, “A new journey in the Mad Max saga begins.” Anya Taylor-Joy stars alongside him. The “Mad Max” prequel movie is based on Charlize Theron’s Imperator Furiosa character from 2015’s “Mad Max: Fury Road.”
Miller calls the sequel “a saga,” which will unspool over a 15-year period, differing from its predecessor which spanned three days in its timeframe.
George Miller is set to direct, co-write and produce “Furiosa,” along with his longtime producing partner Doug Mitchell.
A new journey in the Mad Max saga begins #Furiosa pic.twitter.com/nhxqRXB73z
— Chris Hemsworth (@chrishemsworth) June 1, 2022
Most recently, Miller revealed that he and composer Tom Holkenborg, aka Junkie Xl, will work together again on the film’s score. Holkenborg scored “Fury Road.”
As...
Chris Hemsworth, one of the film’s stars, shared a post via social media saying, “A new journey in the Mad Max saga begins.” Anya Taylor-Joy stars alongside him. The “Mad Max” prequel movie is based on Charlize Theron’s Imperator Furiosa character from 2015’s “Mad Max: Fury Road.”
Miller calls the sequel “a saga,” which will unspool over a 15-year period, differing from its predecessor which spanned three days in its timeframe.
George Miller is set to direct, co-write and produce “Furiosa,” along with his longtime producing partner Doug Mitchell.
A new journey in the Mad Max saga begins #Furiosa pic.twitter.com/nhxqRXB73z
— Chris Hemsworth (@chrishemsworth) June 1, 2022
Most recently, Miller revealed that he and composer Tom Holkenborg, aka Junkie Xl, will work together again on the film’s score. Holkenborg scored “Fury Road.”
As...
- 6/1/2022
- by Jazz Tangcay
- Variety Film + TV
Charlize Theron’s Imperator Furiosa, a hardened war captain who rebels against the tyrannical Immortan Joe (Hugh Keays-Byrne) to free his women captives alongside Max Rockatansky (Tom Hardy), is a large part of what made 2015’s “Mad Max: Fury Road” a blockbuster juggernaut — now considered among viewers and critics alike to be one of the best action films of all time. She made her debut in the fourth installment of George Miller’s widely celebrated franchise, which began in 1979 with Mel Gibson starring in the title role.
Warner Bros.
While the Oscar-winning movie offered some insight into Furiosa’s backstory, including her remembrances of the “Green Place” — an idyllic location from her childhood that predates the current post-apocalyptic wasteland — her self-titled film will uncover her origin story in depth. “Furiosa” will follow the badass heroine prior to her captaining days, serving as a prequel to “Fury Road,” with Anya Taylor-Joy taking over the lead role.
Warner Bros.
While the Oscar-winning movie offered some insight into Furiosa’s backstory, including her remembrances of the “Green Place” — an idyllic location from her childhood that predates the current post-apocalyptic wasteland — her self-titled film will uncover her origin story in depth. “Furiosa” will follow the badass heroine prior to her captaining days, serving as a prequel to “Fury Road,” with Anya Taylor-Joy taking over the lead role.
- 5/29/2022
- by Natalie Oganesyan
- The Wrap
Cannes likes George Miller, and he likes Cannes. It’s where he debuted “Mad Max: Fury Road” in 2015, and made his third Competition jury appearance the following year, this time as its president. Now his latest film, “Three Thousand Years of Longing,” has an out-of-competition slot with an epic and gorgeously wrought fairy-tale romance between a Djinn eager for freedom (Idris Elba) and a successful but lonely academic who studies storytelling. He tells her a bang of a tale; she makes wishes. They negotiate the terms in an Istanbul hotel room. Is love a wish fulfilled?
For all its epic scope, it’s a smaller-scale drama dominated by dialogue and reviews are mixed. That’s unsurprising; this movie is like nothing you have seen, and critics don’t know what to make of it. Although crammed with ingenious magical creatures and VFX, it’s not an action movie. Its two 50-ish leads are romantic,...
For all its epic scope, it’s a smaller-scale drama dominated by dialogue and reviews are mixed. That’s unsurprising; this movie is like nothing you have seen, and critics don’t know what to make of it. Although crammed with ingenious magical creatures and VFX, it’s not an action movie. Its two 50-ish leads are romantic,...
- 5/23/2022
- by Anne Thompson
- Indiewire
Here’s a look at the full trailer for Three Thousand Years Of Longing. From director George Miller, the movie screened at the 75th Cannes Film Festival out of competition and was met with a six minute standing ovation.
Dr Alithea Binnie (Tilda Swinton) is an academic – content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom.
This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.
Written by George Miller and Augusta Gore, Three Thousand Years Of Longing is based...
Dr Alithea Binnie (Tilda Swinton) is an academic – content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom.
This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.
Written by George Miller and Augusta Gore, Three Thousand Years Of Longing is based...
- 5/23/2022
- by Michelle Hannett
- WeAreMovieGeeks.com
George Miller has some thoughts about the future of superhero movies.
At a Saturday press conference in Cannes for his new film “3000 Years of Longing,” story archetypes throughout history were widely discussed — as his movie follows an academic who studies the narratives of humankind.
In one scene, set at a conference discussing storytelling, we glimpse a large image of the DC Comics heroes including Superman, Batman and The Flash. Variety asked Miller if he thought that contemporary superhero content would be shared throughout the ages to come.
“They endure and have endured anyway. The one thing you will be certain of is that they will change, they will morph into something else. Marvel and the DC Universe are basically the vestiges of the Greek and Norse and Roman mythologies. There’s a direct equivalence between each of those characters, ” Miller said. “We’re going through an era in which I...
At a Saturday press conference in Cannes for his new film “3000 Years of Longing,” story archetypes throughout history were widely discussed — as his movie follows an academic who studies the narratives of humankind.
In one scene, set at a conference discussing storytelling, we glimpse a large image of the DC Comics heroes including Superman, Batman and The Flash. Variety asked Miller if he thought that contemporary superhero content would be shared throughout the ages to come.
“They endure and have endured anyway. The one thing you will be certain of is that they will change, they will morph into something else. Marvel and the DC Universe are basically the vestiges of the Greek and Norse and Roman mythologies. There’s a direct equivalence between each of those characters, ” Miller said. “We’re going through an era in which I...
- 5/21/2022
- by Matt Donnelly
- Variety Film + TV
When ranging out of Mad Max territory, George Miller’s films are highly diverse and unpredictable in nature, and never has this proved more the case than with his time-traveling, narratively far-ranging new drama, Three Thousand Years of Longing. In this Cannes Film Festival out-of-competition entry, the director delves back into old texts to examine the nature and power of legendary stories that have endured for centuries in a way that is both sharply creative and a bit off-putting; the film begins on quite a high, only to slowly deflate as it works its way toward its modern-day ending.
Based on a 1994 short story, “The Djinn in the Nightingale’s Eye,” by A.S. Byatt and adapted by Miller and his daughter Augusta Gore, the film is bracing in its intelligence and thirst for inquiry, immoderately well made and carried to the highest levels of screen acting by two sensationally good actors,...
Based on a 1994 short story, “The Djinn in the Nightingale’s Eye,” by A.S. Byatt and adapted by Miller and his daughter Augusta Gore, the film is bracing in its intelligence and thirst for inquiry, immoderately well made and carried to the highest levels of screen acting by two sensationally good actors,...
- 5/20/2022
- by Todd McCarthy
- Deadline Film + TV
The genie is out of the bottle for the dynamic director George Miller and his newest venture “Three Thousand Years of Longing,” starring Academy Award winner Tilda Swinton and Idris Elba. You’ll hear the awards comparisons that call it Miller’s version of “The Shape of Water” (2017), Guillermo del Toro’s Oscar-winner for best picture, but it’s closer to Terrence Malick’s “The Tree of Life” (2012) but with an accessible and soulful core. It’s a love story to the storytellers, and a love letter to mankind. With its imperfect perfection, the first contender for Oscar’s most coveted prize has arrived.
Two of Miller’s films have received nominations: “Babe” (1995) and “Mad Max: Fury Road” (2015). This is hands-down his most narrative-rich achievement, something that could bring him three Oscar noms as a producer, director and co-writer.
Marking the first MGM title to debut at the film festival...
Two of Miller’s films have received nominations: “Babe” (1995) and “Mad Max: Fury Road” (2015). This is hands-down his most narrative-rich achievement, something that could bring him three Oscar noms as a producer, director and co-writer.
Marking the first MGM title to debut at the film festival...
- 5/20/2022
- by Clayton Davis
- Variety Film + TV
George Miller electrified the Cannes Film Festival with “Three Thousand Years of Longing,” his first directorial effort since “Mad Max: Fury Road.” Miller’s latest, starring Tilda Swinton and Idris Elba, earned a six-minute standing ovation after its world premiere at Cannes’ Palais theater.
A love letter to storytelling and its tropes and parables passed down through history, “Three Thousand Years” follows a solitary academic (Swinton) and a burdened genie (Elba) she finds in a bottle in the markets of Istanbul. His history unfolds in the stories of those who had found him before.
While his memories were relayed in dazzling ancient locations with heavy special effects, half of the film is spent in a hotel room. The Cannes crowd enjoyed Swinton and Elba hanging out in bathrobes, casually bickering over the ethics of wish making — until the movie eventually gives way to a bittersweet love story.
Elba and Swinton...
A love letter to storytelling and its tropes and parables passed down through history, “Three Thousand Years” follows a solitary academic (Swinton) and a burdened genie (Elba) she finds in a bottle in the markets of Istanbul. His history unfolds in the stories of those who had found him before.
While his memories were relayed in dazzling ancient locations with heavy special effects, half of the film is spent in a hotel room. The Cannes crowd enjoyed Swinton and Elba hanging out in bathrobes, casually bickering over the ethics of wish making — until the movie eventually gives way to a bittersweet love story.
Elba and Swinton...
- 5/20/2022
- by Zack Sharf
- Variety Film + TV
Dr. Alithea Binnie (Tilda Swinton) is just trying to keep things in order.
Oscar-winner Swinton stars as Alithea, an academic content with leading a life of reason and logic. However, all of her beliefs are thrown into a tailspin after encountering a Djinn, played by Idris Elba, while attending a conference in Istanbul. Suddenly Alithea has the chance to make three wishes that will come true, in exchange for the Dijinn’s freedom.
The mystical plot of writer-director George Miller’s long-awaited “Three Thousand Years of Longing” is expertly matched with jaw-dropping special effects. The film debuts in theaters August 31 after premiering at the 2022 Cannes Film Festival out of competition
Per an official synopsis, Alithea’s wishes present two problems: First, she doubts that the Dijinn is real and second, since she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The...
Oscar-winner Swinton stars as Alithea, an academic content with leading a life of reason and logic. However, all of her beliefs are thrown into a tailspin after encountering a Djinn, played by Idris Elba, while attending a conference in Istanbul. Suddenly Alithea has the chance to make three wishes that will come true, in exchange for the Dijinn’s freedom.
The mystical plot of writer-director George Miller’s long-awaited “Three Thousand Years of Longing” is expertly matched with jaw-dropping special effects. The film debuts in theaters August 31 after premiering at the 2022 Cannes Film Festival out of competition
Per an official synopsis, Alithea’s wishes present two problems: First, she doubts that the Dijinn is real and second, since she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The...
- 5/20/2022
- by Samantha Bergeson
- Indiewire
Dreaming of genie takes on a whole new meaning in George Miller’s twisted sprawling fantasy “Three Thousand Years of Longing.”
The film debuts at 2022 Cannes and Tilda Swinton stars as a scholar who encounters a Djinn (Idris Elba), who offers her three wishes in exchange for his freedom. Their conversation, unfolding in a hotel room in Istanbul, leads to decades-spanning consequences neither expected. “Three Thousand Years of Longing” premieres in theaters August 31. Check out the first footage below.
The teaser shows Elba’s character being horrifically sucked back into an urn, while Swinton as academic Dr. Alithea Binnie rides a train wearing a face mask. A succession of lush images is juxtaposed with a leering god-like figure. The trio of wishes are informed by Elba, recalling his origin story as a Dijinn, leading to Swinton’s Binnie making a shocking decision.
“Three Thousand Years of Longing” marks director Miller...
The film debuts at 2022 Cannes and Tilda Swinton stars as a scholar who encounters a Djinn (Idris Elba), who offers her three wishes in exchange for his freedom. Their conversation, unfolding in a hotel room in Istanbul, leads to decades-spanning consequences neither expected. “Three Thousand Years of Longing” premieres in theaters August 31. Check out the first footage below.
The teaser shows Elba’s character being horrifically sucked back into an urn, while Swinton as academic Dr. Alithea Binnie rides a train wearing a face mask. A succession of lush images is juxtaposed with a leering god-like figure. The trio of wishes are informed by Elba, recalling his origin story as a Dijinn, leading to Swinton’s Binnie making a shocking decision.
“Three Thousand Years of Longing” marks director Miller...
- 5/18/2022
- by Samantha Bergeson
- Indiewire
The American Society of Cinematographers awarded Greig Fraser its top prize for his work on “Dune” at its annual awards on Sunday. He edged out three of his Oscar rivals for Best Cinematography: Bruno Delbonnel for “The Tragedy of Macbeth,” Dan Laustsen for “Nightmare Alley” and Ari Wegner for “The Power of the Dog.” The fifth ASC contender was Haris Zamberloukos for “Belfast” who bumped Oscar nominee Janusz Kamiński for “West Side Story.”
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
Over its 36-year history, the ASC has predicted 144 of the 180 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
- 3/21/2022
- by Paul Sheehan
- Gold Derby
Opposition to the Academy’s plan to award eight Oscars prior to the live telecast continues to grow, with more than 350 new names — including more than a dozen Oscar-winning editors, cinematographers and production designers — added to the petition sent last week to Academy president David Rubin urging a reversal of the plan.
Among the industry professionals signing are Oscar-winning cinematographers John Seale (“The English Patient”), John Toll (“Braveheart”) and Dean Semler (“Dances With Wolves”), and Oscar-winning editors Richard Chew and Paul Hirsch (“Star Wars”), Mikkel Neilsen (“The Sound of Metal”), Pietro Scalia (“JFK”) and Zach Staenberg (“The Matrix”).
Oscar-winning production designers Hannah Beachler (“Black Panther”), Barbara Ling (“Once Upon a Time in Hollywood”), Adam Stockhausen (“Grand Budapest Hotel”) and David and Sandy Wasco (“La La Land”) also signed on.
Cinematography will be presented during the live show, but editing and production design are among the eight awards to be presented during the 4 p.
Among the industry professionals signing are Oscar-winning cinematographers John Seale (“The English Patient”), John Toll (“Braveheart”) and Dean Semler (“Dances With Wolves”), and Oscar-winning editors Richard Chew and Paul Hirsch (“Star Wars”), Mikkel Neilsen (“The Sound of Metal”), Pietro Scalia (“JFK”) and Zach Staenberg (“The Matrix”).
Oscar-winning production designers Hannah Beachler (“Black Panther”), Barbara Ling (“Once Upon a Time in Hollywood”), Adam Stockhausen (“Grand Budapest Hotel”) and David and Sandy Wasco (“La La Land”) also signed on.
Cinematography will be presented during the live show, but editing and production design are among the eight awards to be presented during the 4 p.
- 3/17/2022
- by Jon Burlingame
- Variety Film + TV
The 2022 Cannes lineup is coming into focus.
George Miller’s latest film, “Three Thousand Years of Longing,” is officially set to premiere at the 75th Cannes Film Festival, which will run May 17–28. The full Cannes selection will be revealed in mid-April, but Variety has reported that “Three Thousand Years of Longing” is set to join “Top Gun: Maverick” and Baz Luhrmann’s “Elvis” among the festival premieres so far.
Tilda Swinton stars as a scholar who encounters a Djinn (Idris Elba), who offers her three wishes in exchange for his freedom. Their conversation, unfolding in a hotel room in Istanbul, leads to consequences neither expected.
Miller last premiered a film at Cannes with the release of “Fury Road,” which played the festival out of competition in 2015. The following year, Miller served as president of the Cannes jury.
Miller previously described “Three Thousand Years of Longing” to Collider as the “anti-...
George Miller’s latest film, “Three Thousand Years of Longing,” is officially set to premiere at the 75th Cannes Film Festival, which will run May 17–28. The full Cannes selection will be revealed in mid-April, but Variety has reported that “Three Thousand Years of Longing” is set to join “Top Gun: Maverick” and Baz Luhrmann’s “Elvis” among the festival premieres so far.
Tilda Swinton stars as a scholar who encounters a Djinn (Idris Elba), who offers her three wishes in exchange for his freedom. Their conversation, unfolding in a hotel room in Istanbul, leads to consequences neither expected.
Miller last premiered a film at Cannes with the release of “Fury Road,” which played the festival out of competition in 2015. The following year, Miller served as president of the Cannes jury.
Miller previously described “Three Thousand Years of Longing” to Collider as the “anti-...
- 3/16/2022
- by Samantha Bergeson
- Indiewire
The American Society of Cinematographers nominations announced on January 25 include four of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Greig Fraser for “Dune” — as well as Bruno Delbonnel for “The Tragedy of Macbeth,” Ari Wegner for “The Power of the Dog” and Haris Zamberloukos for “Belfast.”
Our fifth predicted Oscar nominee, Janusz Kaminski for “West Side Story,” was snubbed in favor of our sixth-ranked contender, Dan Laustsen for “Nightmare Alley.”
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times in 35 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
Our fifth predicted Oscar nominee, Janusz Kaminski for “West Side Story,” was snubbed in favor of our sixth-ranked contender, Dan Laustsen for “Nightmare Alley.”
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in 2019, 2020 and 2021 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 16 times in 35 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe, “Memoirs of a Geisha” (2006)
Robert Elswit,...
- 1/25/2022
- by Paul Sheehan
- Gold Derby
At six of the last nine Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2022 Oscars predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
- 1/23/2022
- by Paul Sheehan
- Gold Derby
New South Wales state Premier Gladys Berejiklian has announced George Miller’s upcoming “Mad Max: Fury Road” prequel film “Furiosa” will become the biggest movie ever made in Australia. The Warner Bros.-backed action tentpole is set to begin filming in New South Wales in 2022. According to Berejiklian, “Furiosa” will pump at least $350M Aud into the local economy and create 850 new jobs. Berejiklian made the announcement at a press conference with director Miller and cast member Chris Hemsworth in attendance.
“[Working on ‘Furiosa’] is the biggest pinch-myself moment, because I’ve grown up watching it [‘Mad Max’] and it’s so iconic,” Hemsworth told press about joining the franchise. “It is a huge honor. A lot of pressure, but exciting pressure that is certainly motivating.”
Hemsworth’s role in “Furiosa” has yet to be revealed, and the same goes for cast member Yahya Abdul-Mateen II. “The Queen’s Gambit” favorite Anya Taylor-Joy...
“[Working on ‘Furiosa’] is the biggest pinch-myself moment, because I’ve grown up watching it [‘Mad Max’] and it’s so iconic,” Hemsworth told press about joining the franchise. “It is a huge honor. A lot of pressure, but exciting pressure that is certainly motivating.”
Hemsworth’s role in “Furiosa” has yet to be revealed, and the same goes for cast member Yahya Abdul-Mateen II. “The Queen’s Gambit” favorite Anya Taylor-Joy...
- 4/19/2021
- by Zack Sharf
- Indiewire
The American Society of Cinematographers were so impressed by the black-and-white lensing of “Mank” that it awarded Erik Messerschmidt the Best Cinematography prize at its annual awards on Sunday. He edged out three of his Oscar rivals — Phedon Papamichael for “The Trial of the Chicago 7,” Joshua James Richards for “Nomadland” and Dariusz Wolski for “News of the World — as well Newton Thomas Sigel for “Cherry. The fifth Oscar contender, Sean Bobbitt for “Judas and the Black Messiah,” was snubbed by the ASC.
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L.
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L.
- 4/18/2021
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on March 10 include four of the five leading Oscar contenders for Best Cinematography including Erik Messerschmidt for “Mank” as well as Phedon Papamichael for “The Trial of the Chicago 7,” Joshua James Richards for “Nomadland” and Dariusz Wolski for “News of the World. Also in contention is Newton Thomas Sigel for “Cherry. The fifth Oscar contender, Sean Bobbitt for “Judas and the Black Messiah” was snubbed by the guild.
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe,...
Over its 35-year history, the ASC has predicted 140 of the 175 Oscar nominees, including four in both 2019 and 2020 and all five in both 2018 and 2017. However, the ASC choice for the best in the business has presaged the eventual winner at the Oscars only 15 times in 34 years:
Dean Semler, “Dances with Wolves” (1991)
John Toll, “Braveheart” (1996)
John Seale, “The English Patient” (1997)
Russell Carpenter, “Titanic” (1998)
Conrad L. Hall, “American Beauty” (2000)
Conrad L. Hall, “Road to Perdition” (2003)
Dion Beebe,...
- 4/16/2021
- by Paul Sheehan
- Gold Derby
The American Society of Cinematographers nominees announced on March 10 include three of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Erik Messerschmidt for “Mank” — as well as Joshua James Richards for “Nomadland” and Dariusz Wolski for “News of the World. Also in contention are Phedon Papamichael for “The Trial of the Chicago 7” and Newton Thomas Sigel for “Cherry. We are predicting Sigel will reap an Oscar bid for “Da 5 Bloods” instead.
Papamichael is a favorite of the ASC; he was nominated here last year for “Ford v Ferrari” but was bumped out at the Oscars by “The Lighthouse” lenser Jarin Blaschke. We don’t expect him to contend at the Academy Awards this year either with Hoyte van Hoytema likely to land the fifth slot for “Tenet.”
Over its 34-year history, the ASC has predicted 136 of the 170 Oscar nominees, including four in both...
Papamichael is a favorite of the ASC; he was nominated here last year for “Ford v Ferrari” but was bumped out at the Oscars by “The Lighthouse” lenser Jarin Blaschke. We don’t expect him to contend at the Academy Awards this year either with Hoyte van Hoytema likely to land the fifth slot for “Tenet.”
Over its 34-year history, the ASC has predicted 136 of the 170 Oscar nominees, including four in both...
- 3/10/2021
- by Paul Sheehan
- Gold Derby
At six of the last eight Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2021 Oscars predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
- 3/4/2021
- by Paul Sheehan
- Gold Derby
Right before the pandemic hit, director George Miller was just about to begin production on his Mad Max: Fury Road follow-up, a new original film titled Three Thousand Years Of Longing. Set to star Idris Elba and Tilda Swinton, plans were of course halted and the only news we’ve gotten since is that Miller was casting his Mad Max prequel centered on Furiosa, leading us to believe the other project may have died. Thankfully, that is not the case.
Deadline reports not only is the epic fantasy-romance in production in Australia, they’ve already completed three weeks of a two-month shoot. After a Christmas break, production will wrap up with an eye for a September 2021 post-production completion. While details have been sparse when it comes to the $60 million production, it’s said to be a love story involving a genie.
“One thing I can tell you; it’s not [another Fury Road],” Miller said last year.
Deadline reports not only is the epic fantasy-romance in production in Australia, they’ve already completed three weeks of a two-month shoot. After a Christmas break, production will wrap up with an eye for a September 2021 post-production completion. While details have been sparse when it comes to the $60 million production, it’s said to be a love story involving a genie.
“One thing I can tell you; it’s not [another Fury Road],” Miller said last year.
- 12/10/2020
- by Jordan Raup
- The Film Stage
George Miller’s “Mad Max: Fury Road” follow-up “Thousand Years of Longing” is finally in production in Australia, well over two years after the project was first announced. Deadline confirms Miller is 20 days into the movie’s 62-day film shoot. Cast and crew will break for the holidays later this month and reconvene in early 2021 to finish production by spring. Miller is reportedly aiming to have the film finished by September 2021. As previously reported, MGM is on board as the film’s U.S. distributor and the cast is led by Tilda Swinton and Idris Elba.
While plot details for “Thousand Years of Longing” remain under wraps, “Fury Road” fans will be excited to learn that Miller has gotten nearly all of the Oscar-winning “Mad Max” craft team back together for his new movie. Oscar-winning cinematographer John Seale has come out of retirement to serve as Dp on “Thousand Years of Longing,...
While plot details for “Thousand Years of Longing” remain under wraps, “Fury Road” fans will be excited to learn that Miller has gotten nearly all of the Oscar-winning “Mad Max” craft team back together for his new movie. Oscar-winning cinematographer John Seale has come out of retirement to serve as Dp on “Thousand Years of Longing,...
- 12/9/2020
- by Zack Sharf
- Indiewire
Imagine Entertainment and MGM will roll cameras on Ron Howard’s upcoming drama Thirteen Lives, based on the 2018 Thai caves rescue incident, in Australia next March. The Australian government is injecting Aud $13 million into the project, which will use Queensland’s Gold Coast to double for Thailand.
Thirteen Lives is based on the true story of the 2018 Tham Laung cave rescue of a boys’ soccer team, who were trapped for days with no supplies and decreasing oxygen levels. A group of divers from all over the world came together to retrieve them.
Producers are Brian Grazer, P.J. van Sandwijk, Gabrielle Tana and Karen Lunder.
Paul Fletcher, Australian Minister for Communications, Cyber Safety and the Arts, said the production is expected to inject more than Aud $96 million into the economy, directly creating around 435 jobs for cast and crew, as well as an equivalent 3,400 background extra days.
“Over the years, I’ve...
Thirteen Lives is based on the true story of the 2018 Tham Laung cave rescue of a boys’ soccer team, who were trapped for days with no supplies and decreasing oxygen levels. A group of divers from all over the world came together to retrieve them.
Producers are Brian Grazer, P.J. van Sandwijk, Gabrielle Tana and Karen Lunder.
Paul Fletcher, Australian Minister for Communications, Cyber Safety and the Arts, said the production is expected to inject more than Aud $96 million into the economy, directly creating around 435 jobs for cast and crew, as well as an equivalent 3,400 background extra days.
“Over the years, I’ve...
- 11/27/2020
- by Tom Grater
- Deadline Film + TV
Oscar-winning filmmaker Ron Howard’s “Thirteen Lives,” based on the 2018 Thai caves rescue mission, will start filming in March in Queensland, Australia.
Australia will provide A$13 million ($9.6 million) to MGM and Imagine Entertainment towards the production, with Queenland’s Gold Coast hinterland doubling up for Thailand.
Produced by Oscar-winner Brian Grazer, P.J. van Sandwijk, Gabrielle Tana and Karen Lunder, “Thirteen Lives” follows the true story of the 2018 Tham Laung cave rescue of a boys’ soccer team, trapped in a cave by heavy rain and flooding. After the team was stuck for days with no supplies and falling oxygen levels, a group from all over the world came together to work with the people of Thailand to save the boys. Among those experts were a group of divers from the U.K. and Australia.
“Over the years, I’ve both enjoyed and creatively benefitted from collaborations with Australian artists and technicians...
Australia will provide A$13 million ($9.6 million) to MGM and Imagine Entertainment towards the production, with Queenland’s Gold Coast hinterland doubling up for Thailand.
Produced by Oscar-winner Brian Grazer, P.J. van Sandwijk, Gabrielle Tana and Karen Lunder, “Thirteen Lives” follows the true story of the 2018 Tham Laung cave rescue of a boys’ soccer team, trapped in a cave by heavy rain and flooding. After the team was stuck for days with no supplies and falling oxygen levels, a group from all over the world came together to work with the people of Thailand to save the boys. Among those experts were a group of divers from the U.K. and Australia.
“Over the years, I’ve both enjoyed and creatively benefitted from collaborations with Australian artists and technicians...
- 11/27/2020
- by Naman Ramachandran
- Variety Film + TV
The New York Times has followed this week’s great oral history of “Mad Max: Fury Road” with a small follow-up preview on the movie that will became the Furiosa standalone film. Rumors broke earlier this year Miller was meeting with young actors such as Anya Taylor-Joy to take over the part of Furiosa, played in an iconic performance by Charlize Theron. The director confirms to The Times his Furiosa movie is a prequel to “Fury Road,” and for a time Miller was considering de-aging Theron. The effect would have been similar to Robert De Niro in Martin Scorsese’s “The Irishman.”
“For the longest time, I thought we could just use CG de-aging on Charlize, but I don’t think we’re nearly there yet,” Miller said. “Despite the valiant attempts on ‘The Irishman,’ I think there’s still an uncanny valley. Everyone is on the verge of solving it,...
“For the longest time, I thought we could just use CG de-aging on Charlize, but I don’t think we’re nearly there yet,” Miller said. “Despite the valiant attempts on ‘The Irishman,’ I think there’s still an uncanny valley. Everyone is on the verge of solving it,...
- 5/14/2020
- by Zack Sharf
- Indiewire
Ann Roth won an Oscar for Anthony Minghella’s adaptation of Michael Ondaatje’s The English Patient
For Anthony Minghella’s adaptation of Michael Ondaatje’s The English Patient, shot by John Seale, Oscar-winner Ann Roth and her then assistant Carlo Poggioli dressed Kristin Scott Thomas as Katharine, Ralph Fiennes as Almásy, Juliette Binoche as Hana, Naveen Andrews as Kip, Willem Dafoe as Caravaggio, and Colin Firth as Katharine’s husband Geoffrey.
Ralph Fiennes as Almásy
The English Patient won Oscars for Best Picture (producer Saul Zaentz), Director, Actress in a Supporting Role (Binoche), Cinematography, Editing (Walter Murch), Original Dramatic Score (Gabriel Yared), Art Direction, and Sound, and BAFTAs for Best...
For Anthony Minghella’s adaptation of Michael Ondaatje’s The English Patient, shot by John Seale, Oscar-winner Ann Roth and her then assistant Carlo Poggioli dressed Kristin Scott Thomas as Katharine, Ralph Fiennes as Almásy, Juliette Binoche as Hana, Naveen Andrews as Kip, Willem Dafoe as Caravaggio, and Colin Firth as Katharine’s husband Geoffrey.
Ralph Fiennes as Almásy
The English Patient won Oscars for Best Picture (producer Saul Zaentz), Director, Actress in a Supporting Role (Binoche), Cinematography, Editing (Walter Murch), Original Dramatic Score (Gabriel Yared), Art Direction, and Sound, and BAFTAs for Best...
- 1/20/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The American Society of Cinematographers nominees announced on January 3 include four of our five leading Oscar contenders for Best Cinematography including the frontrunner to win — Roger Deakins for “1917” — as well as Rodrigo Prieto for “The Irishman,” Robert Richardson for “Once Upon a Time in Hollywood” and Lawrence Sher for “Joker.” The fifth Asc nominee, instead of “The Lighthouse” cinematographer Jarin Blaschke, was Phedon Papamichael for the racing drama “Ford v Ferrari.”
But Blaschke wasn’t snubbed. He did receive a nomination in the Spotlight Award category, which honors films that screen at festivals, internationally, or in limited release. He’s joined there by just two other nominees: Natasha Braier (“Honey Boy”) and Jasper Wolf (“Monos”). Though it must be noted that “The Lighthouse” actually grossed more domestically than “Cold War,” the Polish film that won last year’s top prize and not a separate race for limited-release movies.
Over its 33-year history,...
But Blaschke wasn’t snubbed. He did receive a nomination in the Spotlight Award category, which honors films that screen at festivals, internationally, or in limited release. He’s joined there by just two other nominees: Natasha Braier (“Honey Boy”) and Jasper Wolf (“Monos”). Though it must be noted that “The Lighthouse” actually grossed more domestically than “Cold War,” the Polish film that won last year’s top prize and not a separate race for limited-release movies.
Over its 33-year history,...
- 1/3/2020
- by Daniel Montgomery
- Gold Derby
It was the best of times… it was the worst of times. 2010 through 2019 saw dramatic climate changes, unconventional leadership choices to the political landscape and walls being built to further divide cultures.
When we came together, we came together strong.
Our world witnessed many extraordinary things such as a 16 year girl succeeding in turning vague anxieties about the planet into a worldwide movement calling for global change, in 2015 same-sex marriage became legal, millions attended the Women’s March in 2017, in 2018 mankind experienced a once-in-a-lifetime total solar eclipse, while in April of 2019, we got our first glimpse of the most mysterious spectacle in the universe: the black hole.
Political commentary was the focus of many mainstream movies, sociological topics metaphorically took the form of horror films while creatures past present and future captured the zeitgeist of the past decade. The eighth and final installment in the Harry Potter film series — Harry Potter and the Deathly Hallows,...
When we came together, we came together strong.
Our world witnessed many extraordinary things such as a 16 year girl succeeding in turning vague anxieties about the planet into a worldwide movement calling for global change, in 2015 same-sex marriage became legal, millions attended the Women’s March in 2017, in 2018 mankind experienced a once-in-a-lifetime total solar eclipse, while in April of 2019, we got our first glimpse of the most mysterious spectacle in the universe: the black hole.
Political commentary was the focus of many mainstream movies, sociological topics metaphorically took the form of horror films while creatures past present and future captured the zeitgeist of the past decade. The eighth and final installment in the Harry Potter film series — Harry Potter and the Deathly Hallows,...
- 12/31/2019
- by Movie Geeks
- WeAreMovieGeeks.com
Gillian Armstrong and Murray Forrest. (Photo credit: Peter Jackson)
Gillian Armstrong has won one of the Australian cinema industry’s highest honours, the Murray Forrest Award for Excellence in Filmcraft.
The trailblazing director whose My Brilliant Career was the first Australian feature directed by a woman in 46 years received the award at the Australian International Movie Convention.
Accepting the award, Armstrong was self-deprecating, observing: “I could not type or cook or drive so it was good to find something I wasn’t too bad at.”
She paid tribute to her numerous collaborators including first Ad, the late Mark Turnbull, film editor Nicholas Beauman and DOPs Don McAlpine, Russell Boyd, Dion Beebe and Geoffrey Simpson.
Also she thanked distributors and exhibitors, acknowledging “nothing beats the terror of audiences and the first weekend in cinemas.”
There was nothing glamorous about working in the film industry, especially getting up at 4.30 am and toiling...
Gillian Armstrong has won one of the Australian cinema industry’s highest honours, the Murray Forrest Award for Excellence in Filmcraft.
The trailblazing director whose My Brilliant Career was the first Australian feature directed by a woman in 46 years received the award at the Australian International Movie Convention.
Accepting the award, Armstrong was self-deprecating, observing: “I could not type or cook or drive so it was good to find something I wasn’t too bad at.”
She paid tribute to her numerous collaborators including first Ad, the late Mark Turnbull, film editor Nicholas Beauman and DOPs Don McAlpine, Russell Boyd, Dion Beebe and Geoffrey Simpson.
Also she thanked distributors and exhibitors, acknowledging “nothing beats the terror of audiences and the first weekend in cinemas.”
There was nothing glamorous about working in the film industry, especially getting up at 4.30 am and toiling...
- 10/24/2019
- by The IF Team
- IF.com.au
William Hurt, Christine Lahti and Elizabeth Perkins do excellent work in this superior drama which delivers an important, unforced life lesson. An emotionless hotshot surgeon gets a dose of his own medicine when he’s hit by a cancerous tumor, and is put through the same wringer that so humiliates his patients. What might be a cynical critique becomes a curiously uplifting drama about the need to include some humanity in one’s profession. Asserting the importance of kindness and empathy to people in need, director Randa Haines’ show is more uplifting than a faith-based film.
The Doctor
Blu-ray
Kl Studio Classics
1991 / Color / widescreen / 122 min. / Street Date March 5, 2019 / available through Kino Lorber / 19.95
Starring: William Hurt, Christine Lahti, Elizabeth Perkins, Mandy Patinkin, Adam Arkin, Charlie Korsmo, Wendy Crewson, Bill Macy, J.E. Freeman, Ed Rosenbaum.
Cinematography: John Seale
Film Editor: Lisa Fruchtman, Bruce Green
Production Designer: Ken Adam
Original Music: Michael Convertino...
The Doctor
Blu-ray
Kl Studio Classics
1991 / Color / widescreen / 122 min. / Street Date March 5, 2019 / available through Kino Lorber / 19.95
Starring: William Hurt, Christine Lahti, Elizabeth Perkins, Mandy Patinkin, Adam Arkin, Charlie Korsmo, Wendy Crewson, Bill Macy, J.E. Freeman, Ed Rosenbaum.
Cinematography: John Seale
Film Editor: Lisa Fruchtman, Bruce Green
Production Designer: Ken Adam
Original Music: Michael Convertino...
- 3/5/2019
- by Glenn Erickson
- Trailers from Hell
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