After getting through the reopened old wounds and fresh corpses of “The Dry” in his dusty outback hometown, Eric Bana’s Federal Agent Aaron Falk certainly deserved a change of scenery. He gets one in woodsy “Force of Nature: The Dry 2,” though naturally the second feature adapted by director Robert Connolly from Jane Harper’s print mystery series soon finds him equally knee-deep in troublesome sleuthing. This sequel to one of Australia’s biggest homegrown hits reprises much of its page-turning plottiness — as well as a straining for emotional depth that proves elusive. IFC is releasing to U.S. theaters and home formats on May 10.
Once again, and perhaps a little too neatly, a case forces Falk to revisit the tragedies of his own past. In the prior film, a childhood friend’s funeral set him to investigating its cause, an effort which soon exposed disturbing links to his...
Once again, and perhaps a little too neatly, a case forces Falk to revisit the tragedies of his own past. In the prior film, a childhood friend’s funeral set him to investigating its cause, an effort which soon exposed disturbing links to his...
- 5/9/2024
- by Dennis Harvey
- Variety Film + TV
Australian writer-director Robert Connolly had a domestic hit in 2021 with The Dry, a slow-burn murder mystery built around Eric Bana’s somber performance as a pensive city cop drawn back to the remote town of his childhood in the middle of a prolonged drought. Bana returns as Aaron Falk in Force of Nature: The Dry 2, which is otherwise a sequel in name alone. The setting this time is a lush and very wet mountain rainforest, drenched by a massive thunderstorm at a key point in the narrative. That makes half the title a complete misnomer.
This is a handsomely produced, solidly acted thriller that’s certainly watchable, though the perplexing subtitle is not its only issue. Unlike its riveting predecessor, it’s absorbing but never quite gripping.
Connolly sticks to novelist Jane Harper’s template from the first book in her Aaron Falk trilogy, in which the Australian Federal Police...
This is a handsomely produced, solidly acted thriller that’s certainly watchable, though the perplexing subtitle is not its only issue. Unlike its riveting predecessor, it’s absorbing but never quite gripping.
Connolly sticks to novelist Jane Harper’s template from the first book in her Aaron Falk trilogy, in which the Australian Federal Police...
- 5/6/2024
- by David Rooney
- The Hollywood Reporter - Movie News
The line-up for the Sundance Film Festival: London 2024 edition includes surreal comedy Sasquatch Sunset, Chiwetel Ejiofor’s Rob Peace and A24 horror I Saw The TV Glow.
The festival takes place at London’s Picturehouse Central from June 6-9, and will present 11 feature films that premiered at the US edition of Sundance in January.
Sasquatch Sunset is directed by David and Nathan Zellner and stars Riley Keough and Jesse Eisenberg. It follows a family of sasquatch - hairy, human-like mythical creatures from the northwestern US - over a year. Ejiofor also stars in biographical drama Rob Peace, which is based on Jeff Hobbs’ bestselling book.
The festival takes place at London’s Picturehouse Central from June 6-9, and will present 11 feature films that premiered at the US edition of Sundance in January.
Sasquatch Sunset is directed by David and Nathan Zellner and stars Riley Keough and Jesse Eisenberg. It follows a family of sasquatch - hairy, human-like mythical creatures from the northwestern US - over a year. Ejiofor also stars in biographical drama Rob Peace, which is based on Jeff Hobbs’ bestselling book.
- 4/23/2024
- ScreenDaily
NonStop Entertainment has acquired Nordic distribution rights to Mattias J Skoglund’s upcoming horror The Home [working title].
The film will begin production in Gotland, Sweden in spring, produced by Siri Hjorton Wagner for [sic] film. LevelK is handling international sales.
The Home is based on Mats Strandberg’s 2017 novel of the same name, about a man who returns to his small town to care for his dementia-stricken mother, as she experiences terrifying visions of her late abusive husband.
Strandberg is adapting his book in collaboration with Skoglund; co-producers are Elina Litvinova of Three Brothers and Heather Millard of Compass Films. Financing comes from the Svenska Filminstitutet,...
The film will begin production in Gotland, Sweden in spring, produced by Siri Hjorton Wagner for [sic] film. LevelK is handling international sales.
The Home is based on Mats Strandberg’s 2017 novel of the same name, about a man who returns to his small town to care for his dementia-stricken mother, as she experiences terrifying visions of her late abusive husband.
Strandberg is adapting his book in collaboration with Skoglund; co-producers are Elina Litvinova of Three Brothers and Heather Millard of Compass Films. Financing comes from the Svenska Filminstitutet,...
- 2/18/2024
- ScreenDaily
Handling The Undead may be the most depressing zombie movie of all time. Sure, many a horror film has depicted gruesome deaths, desperate actions and humankind’s capacity for depravity, but Thea Hvistendahl’s work is about something more personal and unavoidable: the difficulty of parting with the memory of our dead nearest and dearest. In this case, the undead loved ones’ remains are physically present, rather than simply gone. As you might predict, that doesn’t make things easier. Composer Peter Raeburn put it succinctly after the world premiere at the Sundance Film Festival, saying the filmmakers didn’t want to fall into horror, but very much wanted to create a sense of “throbbing terror”.
The film intercuts three different stories, each with loved ones in a different stage of grieving. Anna (Renate Reinsve) and her father (Bjørn Sundquist) have had the most time to deal with the death of their.
The film intercuts three different stories, each with loved ones in a different stage of grieving. Anna (Renate Reinsve) and her father (Bjørn Sundquist) have had the most time to deal with the death of their.
- 2/7/2024
- by Jeremy Mathews
- eyeforfilm.co.uk
Renate Reinsve in Handling The Undead. Peter Raeburn: 'When you're working on a film like this, it's like being part of a band, and I play one instrument, someone else plays another and everyone's very respectful' Photo: Courtesy of Sundance Institute Zombie movies traditionally involve lurching cadavers and adrenaline-rush horror. Thea Hvistendahl takes an altogether slower and more sorrowful approach with her debut Handling The Undead, which is adapted by Let The Right One In’s John Ajvide Lindqvist from his own book. The drip of dread and the horror of grief come together in this trio of tales in which, after a strange event in a hot Oslo summer, families find their loved ones rising from the grave. In one corner of the city, Renate Reinsve’s Anna and her father (Bjørn Sundquist) try to help her son, with his rasping breath and buzzing flies telling us all...
- 2/6/2024
- by Amber Wilkinson
- eyeforfilm.co.uk
The Sundance Film Festival announced its 2024 winners on January 26, two days before the festival’s end date. The Awards Ceremony took place at The Ray Theater in Park City, Utah. This year marks its 40th annual festival run taking place from January 18 to January 28.
In the Summer, a film director Alessandra Lacorazza, won the top honor, U.S. Grand Jury Prize, starring Lio Mehiel.
Last year, Mehiel told uInterview exclusively about the importance of trans representation.
“Whenever there is an uptick of queer or trans representation in the media, there is an equal and perhaps greater response from the other side … that are looking to suppress trans rights, trans agency [and] queer liberation,” Mehiel told uInterview founder Erik Meers. “While in Hollywood we are seeing trans representation and this film is able to be part of that movement, this film is more important now than ever because even just in Utah,...
In the Summer, a film director Alessandra Lacorazza, won the top honor, U.S. Grand Jury Prize, starring Lio Mehiel.
Last year, Mehiel told uInterview exclusively about the importance of trans representation.
“Whenever there is an uptick of queer or trans representation in the media, there is an equal and perhaps greater response from the other side … that are looking to suppress trans rights, trans agency [and] queer liberation,” Mehiel told uInterview founder Erik Meers. “While in Hollywood we are seeing trans representation and this film is able to be part of that movement, this film is more important now than ever because even just in Utah,...
- 1/27/2024
- by Ann Hoang
- Uinterview
Sundance announced its winners on Friday morning, with Alessandra Lacorazza’s In The Summers took the U.S. Grand Jury Prize: Dramatic and Brendan Bellomo’s Porcelain War the U.S. Grand Jury Prize: Documentary.
Silje Evensmo Jacobsen’s A New Kind Of Wilderness won the World Cinema Grand Jury Prize: Documentary, while Astrid Rondero and Fernanda Valadez earned the corresponding world cinema dramatic prize for Sujo.
The pair collaborated as writers on the 2020 World Cinema – Dramatic prize winner Identifying Features directed by Valadez.
The Festival Favorite Award went to Daughters by Angela Patton and Natalie Rae, whose film also...
Silje Evensmo Jacobsen’s A New Kind Of Wilderness won the World Cinema Grand Jury Prize: Documentary, while Astrid Rondero and Fernanda Valadez earned the corresponding world cinema dramatic prize for Sujo.
The pair collaborated as writers on the 2020 World Cinema – Dramatic prize winner Identifying Features directed by Valadez.
The Festival Favorite Award went to Daughters by Angela Patton and Natalie Rae, whose film also...
- 1/26/2024
- ScreenDaily
Sundance announced its winners on Friday morning, with Alessandra Lacorazza’s In The Summers took the U.S. Grand Jury Prize: Dramatic and Brendan Bellomo’s Porcelain War the U.S. Grand Jury Prize: Documentary.
Silje Evensmo Jacobsen’s A New Kind Of Wilderness won the World Cinema Grand Jury Prize: Documentary, while Astrid Rondero and Fernanda Valadez earned the corresponding world cinema dramatic prize for Sujo.
The pair collaborated as writers on the 2020 World Cinema – Dramatic prize winner Identifying Features directed by Valadez.
The Festival Favorite Award went to Daughters by Angela Patton and Natalie Rae, whose film also...
Silje Evensmo Jacobsen’s A New Kind Of Wilderness won the World Cinema Grand Jury Prize: Documentary, while Astrid Rondero and Fernanda Valadez earned the corresponding world cinema dramatic prize for Sujo.
The pair collaborated as writers on the 2020 World Cinema – Dramatic prize winner Identifying Features directed by Valadez.
The Festival Favorite Award went to Daughters by Angela Patton and Natalie Rae, whose film also...
- 1/26/2024
- ScreenDaily
The 2024 Sundance Film Festival has announced its winners, with In the Summers taking the Grand Jury prize for U.S. Dramatic Competition and Porcelain War landing the award for U.S. Documentary Competition.
Sujo won the jury prize for the World Cinema Dramatic Competition section, and A New Kind of Wilderness won for World Cinema Documentary Competition.
Audience awards went to Sean Wang’s Dìdi (弟弟) in the U.S. Dramatic Competition and Daughters in the U.S. Documentary Competition, with the latter also earning the Festival Favorite Award selected by audiences across all new feature films presented at the fest. Girls Will Be Girls landed the audience award for World Cinema Dramatic Competition, and Ibelin won it in the World Cinema Documentary Competition.
Elsewhere, the Next innovator award went to Little Death, with Irish rap biopic Kneecap winning the audience award for the Next section.
Sundance CEO Joana Vicente said,...
Sujo won the jury prize for the World Cinema Dramatic Competition section, and A New Kind of Wilderness won for World Cinema Documentary Competition.
Audience awards went to Sean Wang’s Dìdi (弟弟) in the U.S. Dramatic Competition and Daughters in the U.S. Documentary Competition, with the latter also earning the Festival Favorite Award selected by audiences across all new feature films presented at the fest. Girls Will Be Girls landed the audience award for World Cinema Dramatic Competition, and Ibelin won it in the World Cinema Documentary Competition.
Elsewhere, the Next innovator award went to Little Death, with Irish rap biopic Kneecap winning the audience award for the Next section.
Sundance CEO Joana Vicente said,...
- 1/26/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
The 2024 Sundance Film Festival awards were announced today at The Ray Theatre in Park City, Utah.
See the list of 2024 winners below, and congrats to all the winners.
Festival Favorite Award
Daughters (USA) – Angela Patton and Natalie Rae
U.S. Dramatic Competition
Grand Jury Prize
In the Summers (USA) – Alessandra Lacorazza
Directing Award
In the Summers (USA) – Alessandra Lacorazza
The Waldo Salt Screenwriting Award
A Real Pain – Jesse Eisenberg
Special Jury Award for Breakthrough Performance
Suncoast (USA) – Nico Parker
Special Jury Award for Best Ensemble
Dìdi – Sean Wang
Audience Award
Dìdi – Sean Wang
U.S. Documentary Competition
Grand Jury Prize
Porcelain War – Brendan Bellomo and Slava Leontyev
Directing Award
Sugarcane – Julian Brave NoiseCat and Emily Kassie
Special Jury Award for Sound
Gaucho Gaucho (USA, Argentina) – Michael Dweck and Gregory Kershaw
Special Jury Award for The Art of Change
Union (USA) – Stephen Maing and Brett Story
Jonathan Oppenheim Editing Award
Frida...
See the list of 2024 winners below, and congrats to all the winners.
Festival Favorite Award
Daughters (USA) – Angela Patton and Natalie Rae
U.S. Dramatic Competition
Grand Jury Prize
In the Summers (USA) – Alessandra Lacorazza
Directing Award
In the Summers (USA) – Alessandra Lacorazza
The Waldo Salt Screenwriting Award
A Real Pain – Jesse Eisenberg
Special Jury Award for Breakthrough Performance
Suncoast (USA) – Nico Parker
Special Jury Award for Best Ensemble
Dìdi – Sean Wang
Audience Award
Dìdi – Sean Wang
U.S. Documentary Competition
Grand Jury Prize
Porcelain War – Brendan Bellomo and Slava Leontyev
Directing Award
Sugarcane – Julian Brave NoiseCat and Emily Kassie
Special Jury Award for Sound
Gaucho Gaucho (USA, Argentina) – Michael Dweck and Gregory Kershaw
Special Jury Award for The Art of Change
Union (USA) – Stephen Maing and Brett Story
Jonathan Oppenheim Editing Award
Frida...
- 1/26/2024
- by Prem
- Talking Films
The Sundance Film Festival welcomed a new class of indie film stars on Friday, handing out its annual awards in Park City, Utah.
Taking the festival’s grand jury prize in the U.S. dramatic competition was “In the Summers” from writer-director Alessandra Lacorazza Samudio. The film tells of two daughters who come of age navigating a turbulent but loving father during yearly visits to his home in New Mexico. “Porcelain War” won the U.S. Documentary competition, for its portrait of artists-turned-soldiers in the Ukraine.
Top prizes in the world cinematic category went to “A New Kind of Wilderness” for documentary, the tale of a wild-living family who must return to the modern world after an untimely death; “Sujo” won for narrative feature, about a 4-year-old orphan who may find it impossible to escape a future working for a drug cartel.
Incoming Sundance Film Festival director Eugene Hernandez began...
Taking the festival’s grand jury prize in the U.S. dramatic competition was “In the Summers” from writer-director Alessandra Lacorazza Samudio. The film tells of two daughters who come of age navigating a turbulent but loving father during yearly visits to his home in New Mexico. “Porcelain War” won the U.S. Documentary competition, for its portrait of artists-turned-soldiers in the Ukraine.
Top prizes in the world cinematic category went to “A New Kind of Wilderness” for documentary, the tale of a wild-living family who must return to the modern world after an untimely death; “Sujo” won for narrative feature, about a 4-year-old orphan who may find it impossible to escape a future working for a drug cartel.
Incoming Sundance Film Festival director Eugene Hernandez began...
- 1/26/2024
- by Matt Donnelly
- Variety Film + TV
Perhaps the best way to describe the Norwegian zombie movie, Handling the Undead (Handtering av Udode), is as a mournful reflection on grief, on the struggle of the bereaved to let go of their departed loved ones. Based on the book by Swedish author John Ajvide Lindqvist, whose debut novel, Let the Right One In, became one of the best vampire movies of the 21st century — yielding a solid enough American remake, a so-so Showtime series and an innovative British stage adaptation — Thea Hvistendahl’s debut feature is a slow-burn experience that demands patience.
The degree to which that patience is rewarded will depend on the viewer’s willingness to get lost in the mood of pervasive anxiety and sorrow in a movie whose elegant restraint make it more psychological study than horror. That applies even once the rotting flesh-eaters have been revealed. One selling point of the multistrand drama...
The degree to which that patience is rewarded will depend on the viewer’s willingness to get lost in the mood of pervasive anxiety and sorrow in a movie whose elegant restraint make it more psychological study than horror. That applies even once the rotting flesh-eaters have been revealed. One selling point of the multistrand drama...
- 1/20/2024
- by David Rooney
- The Hollywood Reporter - Movie News
In the movies as in real life, genuine chemistry can’t be faked — two people either have it or they don’t. Joshua Leonard and Jess Weixler fall into the former category, sharing a rapport that’s so natural and easygoing that it carries their winning “Fully Realized Humans” (a 2020 Tribeca Film Festival selection) through its occasional bumpy patches. As a married couple grappling with pre-parental fears as well as familial hang-ups, (following 2011’s “The Lie”), which with the right push may make inroads with indie audiences when it debuts on VOD on July 30.
With the birth of their first child only one month away, Jackie (Weixler) and Elliot (Leonard) find that Lamaze classes with their doula (Erica Chidi Cohen) aren’t quelling their growing anxieties — which are then exacerbated by a baby shower at which their friends talk about the nightmare of breastfeeding, the threat of sudden infant death...
With the birth of their first child only one month away, Jackie (Weixler) and Elliot (Leonard) find that Lamaze classes with their doula (Erica Chidi Cohen) aren’t quelling their growing anxieties — which are then exacerbated by a baby shower at which their friends talk about the nightmare of breastfeeding, the threat of sudden infant death...
- 7/27/2021
- by Nick Schager
- Variety Film + TV
A television series based on Jonathan Glazer’s “Under the Skin” could be on its way, but a brewing bidding war between A24 and Silver Reel needs to be settled first.
Deadline is reporting that Silver Reel, the company that produced the original Scarlett Johansson-starring film, is angling for the TV rights to the movie, which was also financed by Film4, the BFI and Creative Scotland. A24, who is currently working with Glazer on his next film — a Holocaust drama — is said to also be very much in the mix.
A TV series spin-off has apparently been in the works for years, under Silver Reel, and a decision on where it lands should come in the next few weeks, the report also explains. It’s currently unclear what Glazer’s involvement will be, as well as what story the series will tell and what structure it might take.
Glazer...
Deadline is reporting that Silver Reel, the company that produced the original Scarlett Johansson-starring film, is angling for the TV rights to the movie, which was also financed by Film4, the BFI and Creative Scotland. A24, who is currently working with Glazer on his next film — a Holocaust drama — is said to also be very much in the mix.
A TV series spin-off has apparently been in the works for years, under Silver Reel, and a decision on where it lands should come in the next few weeks, the report also explains. It’s currently unclear what Glazer’s involvement will be, as well as what story the series will tell and what structure it might take.
Glazer...
- 1/28/2020
- by Tambay Obenson
- Indiewire
Six years after the international crossover success of “The Lunchbox,” along comes “Photograph” to prove, whatever Thomas Wolfe may think, that you can go home again. Writer-director Ritesh Batra’s first Indian film since his debut feature has the same quiet streak of wistful sentimentality that made “The Lunchbox” so globally beloved — and, for that matter, the same softly-softly humanity found in his two subsequent English-language efforts, “The Sense of an Ending” and “Our Souls at Night.” Whether roaming the streets of Mumbai or the plains of Colorado, Batra’s filmmaking has remained markedly consistent in tone and texture: You’d be hard pressed to find anyone making nicer films in world cinema right now.
That’s an easy quality to underrate, as is the modest but careful craftsmanship and muted but honest performance style that makes “Photograph” — a film itself about the rewards of patiently building on first impressions — a winsome diversion.
That’s an easy quality to underrate, as is the modest but careful craftsmanship and muted but honest performance style that makes “Photograph” — a film itself about the rewards of patiently building on first impressions — a winsome diversion.
- 1/28/2019
- by Guy Lodge
- Variety Film + TV
Rare is it that one gets to see a performance as strong as Andrea Riseborough’s in Nancy. Written and directed by Christina Choe, the film concerns a thirty-something woman living in Oswego, New York who begins to suspect she was abducted when she was a child.
Following the death of the woman that raised her (Ann Dowd), the titular Nancy reaches out to a couple (J. Smith-Cameron and Steve Buscemi) whose daughter disappeared thirty years prior, as she learns from the local news. Cautious but hopeful, they take in the young woman while they attempt to confirm she is their long-lost child. What they don’t know about her will soon cloud circumstances and complicate the visit.
Choe keeps things spare and lets her actors do most of the work here. Smith-Cameron and Buscemi play off each other beautifully, she enamored by who Nancy could be, he closed-off and unwilling to believe it.
Following the death of the woman that raised her (Ann Dowd), the titular Nancy reaches out to a couple (J. Smith-Cameron and Steve Buscemi) whose daughter disappeared thirty years prior, as she learns from the local news. Cautious but hopeful, they take in the young woman while they attempt to confirm she is their long-lost child. What they don’t know about her will soon cloud circumstances and complicate the visit.
Choe keeps things spare and lets her actors do most of the work here. Smith-Cameron and Buscemi play off each other beautifully, she enamored by who Nancy could be, he closed-off and unwilling to believe it.
- 1/23/2018
- by Dan Mecca
- The Film Stage
The debut feature from fashion luminaries Kate and Laura Mulleavy (of Rodarte fame), “Woodshock” begins with an agonized weed dispensary worker rolling a joint, lacing it with poison, and lighting it up for her terminally ill mother. Pot is legal in California, but dying with dignity is not, and so this sort of thing has to be done on the sly. Theresa (Kirsten Dunst) is devastated that it has to be done at all — and disturbed by her role in facilitating it — but she can’t bear to leave her mom in such pain.
The corpse isn’t even cold before Theresa begins to break down. Grief always carries the trimmings of psychosis, but this is something else — she’s not just mourning, she’s practically living a Polanski film. And things don’t really get any better for her after she’s responsible for a mix-up at the office...
The corpse isn’t even cold before Theresa begins to break down. Grief always carries the trimmings of psychosis, but this is something else — she’s not just mourning, she’s practically living a Polanski film. And things don’t really get any better for her after she’s responsible for a mix-up at the office...
- 9/21/2017
- by David Ehrlich
- Indiewire
After being away for ten years, director Jonathan Glazer returns with his first film since 2004′s Birth, his followup to debut Sexy Beast in 2000. The new project is Under the Skin, a sci-fi horror half-documentary that features Scarlett Johansson playing an alien, who drives around in a van picking up random Scottish men.
I sat down with Glazer in a roundtable interview to discuss his film, the importance of his star to the film’s meaning, his interest in the paradox of being human, and more. Some spoilers for the film do follow.
Under the Skin opens in Chicago on April 11.
Did the more overt plot details from the book disappear gradually over different drafts of the film? Or did you know to get rid of these components immediately?
It was over drafts. The first couple of iterations of the script were more illustrative and more faithful. It’s almost...
I sat down with Glazer in a roundtable interview to discuss his film, the importance of his star to the film’s meaning, his interest in the paradox of being human, and more. Some spoilers for the film do follow.
Under the Skin opens in Chicago on April 11.
Did the more overt plot details from the book disappear gradually over different drafts of the film? Or did you know to get rid of these components immediately?
It was over drafts. The first couple of iterations of the script were more illustrative and more faithful. It’s almost...
- 4/12/2014
- by Nick Allen
- The Scorecard Review
The Guildhall-trained Micachu And The Shapes musician took inspiration from John Cage, strip-club music and euphoric dance for her soundtrack to the new Scarlett Johnannson movie
Composing for a film was such new territory for me that I approached Under The Skin like it could suddenly be gone tomorrow. I actually kept it a secret from a lot of people while I was working on it. The first call came from out of the blue, and when I went to meet [director] Jonathan Glazer and [music producer] Peter Raeburn, they showed me some footage and we talked about what the music could be in a pretty abstract way. Jon didn't prescribe anything; he just asked me to follow my own trajectory.
I've heard the word "otherworldly" used a couple of times to describe the music but that wasn't a specific instruction from Jon and Pete. The idea was to follow Scarlett Johansson's...
Composing for a film was such new territory for me that I approached Under The Skin like it could suddenly be gone tomorrow. I actually kept it a secret from a lot of people while I was working on it. The first call came from out of the blue, and when I went to meet [director] Jonathan Glazer and [music producer] Peter Raeburn, they showed me some footage and we talked about what the music could be in a pretty abstract way. Jon didn't prescribe anything; he just asked me to follow my own trajectory.
I've heard the word "otherworldly" used a couple of times to describe the music but that wasn't a specific instruction from Jon and Pete. The idea was to follow Scarlett Johansson's...
- 3/15/2014
- The Guardian - Film News
Chivas Regal, the original luxury whisky, has announced the launch of a music single in association with Film Aid International.
The track, titled It’s Our Time, is the soundtrack to the Here’s To Real Friends film campaign and has been created by composers Peter Raeburn and BAFTA winner Nick Foster. The song can be downloaded now via iTunes, with 10% of all proceeds going to Film Aid International.
Raeburn provides the vocals for the track, which is a euphoric soul-pop with a catchy melody and puncy piano notes. It was mixed by Mark Rankin, who has recently worked with the likes of Adele and Florence and the Machine.
You can watch the trailer and films for the campaign at http://www.youtube.com/ChivasRegalGlobal and via the embed below.
Chivas Regal started their partnership with Film Aid in 2011 and have since raised over $260,000.
The track, titled It’s Our Time, is the soundtrack to the Here’s To Real Friends film campaign and has been created by composers Peter Raeburn and BAFTA winner Nick Foster. The song can be downloaded now via iTunes, with 10% of all proceeds going to Film Aid International.
Raeburn provides the vocals for the track, which is a euphoric soul-pop with a catchy melody and puncy piano notes. It was mixed by Mark Rankin, who has recently worked with the likes of Adele and Florence and the Machine.
You can watch the trailer and films for the campaign at http://www.youtube.com/ChivasRegalGlobal and via the embed below.
Chivas Regal started their partnership with Film Aid in 2011 and have since raised over $260,000.
- 6/19/2012
- by Guest
- Obsessed with Film
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.