Roster includes animation The Steam Engines Of Oz voiced by Ron Perlman, William Shatner, Julianne Hough.
Los Angeles-based Premiere Entertainment Group (Peg) arrives at the Efm with an international sales slate comprising American Dreamer, Human Affairs, The Steam Engines Of Oz, and The Contractor.
Jim Gaffigan stars in crime thriller American Dreamer as a ride share driver who makes extra cash chauffeuring a low-level drug dealer around town and lands in hot water when a kidnapping goes wrong. Robbie Jones and Tammy Blanchard co-star. Derrick Borte directed and co-wrote with Daniel Forte.
Scott Lochmus produced for Storyland Pictures, in association...
Los Angeles-based Premiere Entertainment Group (Peg) arrives at the Efm with an international sales slate comprising American Dreamer, Human Affairs, The Steam Engines Of Oz, and The Contractor.
Jim Gaffigan stars in crime thriller American Dreamer as a ride share driver who makes extra cash chauffeuring a low-level drug dealer around town and lands in hot water when a kidnapping goes wrong. Robbie Jones and Tammy Blanchard co-star. Derrick Borte directed and co-wrote with Daniel Forte.
Scott Lochmus produced for Storyland Pictures, in association...
- 2/7/2019
- by Jeremy Kay
- ScreenDaily
Slamdance also has its wonderful surprises and this film was one!
This drama follows Geneviève, a surrogate pregnant mom to be who must reckon with her ambivalence about the pregnancy and her precarious feelings for the parents-to-be.
Human Affairs is nominally about the effect of an impending surrogate birth on the childless couple involved, but its title points to its far more panoramic scope.
Sidney (Dominic Fumusa), a playwright, and Lucinda (Kerry Condon), a theater actress, are a married couple who have been having trouble conceiving a child on their own.
To achieve this, they employ a surrogate, Genevieve (Julie Sokolowski), originally from France but now living in Vermont. Genevieve is invited to live with the couple in New York for a weekend as she begins the fourth month of her pregnancy.
Julie Sokolowski
The drama plays out internally to Genevieve as she harbors grave doubts and questions...
This drama follows Geneviève, a surrogate pregnant mom to be who must reckon with her ambivalence about the pregnancy and her precarious feelings for the parents-to-be.
Human Affairs is nominally about the effect of an impending surrogate birth on the childless couple involved, but its title points to its far more panoramic scope.
Sidney (Dominic Fumusa), a playwright, and Lucinda (Kerry Condon), a theater actress, are a married couple who have been having trouble conceiving a child on their own.
To achieve this, they employ a surrogate, Genevieve (Julie Sokolowski), originally from France but now living in Vermont. Genevieve is invited to live with the couple in New York for a weekend as she begins the fourth month of her pregnancy.
Julie Sokolowski
The drama plays out internally to Genevieve as she harbors grave doubts and questions...
- 3/2/2018
- by Peter Belsito
- Sydney's Buzz
Human Affairs is nominally about the effect of an impending surrogate birth on the childless couple involved, but its title points to its far more panoramic scope. Bracketed by decades-spanning sequences of still photographs, Human Affairs visually and thematically places its three principal characters within the life and humanity that exists around them, seemingly impervious to their presence. Sidney (Dominic Fumusa), a playwright, and Lucinda (Kerry Condon), a theater actress, are a married couple who have been having trouble conceiving a child on their own. To achieve this, they employ a surrogate, Genevieve (Julie Sokolowski), originally from France but now living in Vermont. Genevieve is invited to live with the couple in New York for a weekend as she begins the fourth month of her pregnancy. It's a busy and...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/22/2018
- Screen Anarchy
Charlie Birns’ Human Affairs is a film about the desire for human connection within a story about surrogacy, a situation that’s intimate by nature but requires an emotional disconnect. As one character points out, the surrogacy process needs women willing to relinquish the child they’ve carried over to its parents without any “emotional complications.” Birns’ feature debut deals with one of those complicated situations, where surrogate and intended parents find themselves unable to deal with the strong, unexpected feelings springing up from the situation they’ve put themselves in. But Birns, like his characters, is out of his depth emotionally, as he’s only able to evoke any emotion from his drama in brief snippets.
Taking place over five days, Human Affairs follows surrogate mother Genevieve (Julie Sokolowski), a young French woman living on a farm in Vermont, as she arrives in New York City to stay with...
Taking place over five days, Human Affairs follows surrogate mother Genevieve (Julie Sokolowski), a young French woman living on a farm in Vermont, as she arrives in New York City to stay with...
- 1/21/2018
- by The Film Stage
- The Film Stage
Don’t for a moment think that the Slamdance Film Festival is in the shadow of Sundance. The annual event is where tomorrow’s next great talent is unearthed and its the place for tiny gems to get the shine and attention they deserve. “Human Affairs” is just such a film, and it brings together an array of terrific names for an intimate drama.
Written and directed by Charlie Birns, starring Dominic Fumusa, Kerry Condon, David Harbour, and Julie Sokolowski, and shot by the great Sean Price Williams (“Good Time,” “Golden Exits,” “Heaven Knows What“), the story follows a young couple who use a surrogate to conceive a child, and complications that follow among the trio.
Continue reading ‘Human Affairs’ Clip: Step Into Lucinda’s World [Slamdance Exclusive] at The Playlist.
Written and directed by Charlie Birns, starring Dominic Fumusa, Kerry Condon, David Harbour, and Julie Sokolowski, and shot by the great Sean Price Williams (“Good Time,” “Golden Exits,” “Heaven Knows What“), the story follows a young couple who use a surrogate to conceive a child, and complications that follow among the trio.
Continue reading ‘Human Affairs’ Clip: Step Into Lucinda’s World [Slamdance Exclusive] at The Playlist.
- 1/10/2018
- by Kevin Jagernauth
- The Playlist
The Slamdance Film Festival announced today their narrative and documentary feature film competition for its 24th Festival edition, taking place January 19-25, 2018 in Park City. Established in 1995 by a group of filmmakers whose work had been rejected by the Sundance Film Festival, Slamdance is dedicated to fostering a community for independent emerging artists, fashioning itself “the premiere film festival by filmmakers, for filmmakers.”
The feature competition includes 16 premieres, mostly produced in the U.S. All competition films are feature length directorial debuts with budgets of less than $1 million Usd, and without Us distribution. In addition, the festival announced a new partnership with alumni Anthony and Joe Russo (“Captain America: Civil War,” and “Avengers: Infinity War”) to establish the inaugural Russo Fellowship award. Every participating filmmaker will be eligible for a $25,000 cash prize and mentorship from the Russos in the development of the winner’s next project at the brothers’ Los Angeles studio.
The feature competition includes 16 premieres, mostly produced in the U.S. All competition films are feature length directorial debuts with budgets of less than $1 million Usd, and without Us distribution. In addition, the festival announced a new partnership with alumni Anthony and Joe Russo (“Captain America: Civil War,” and “Avengers: Infinity War”) to establish the inaugural Russo Fellowship award. Every participating filmmaker will be eligible for a $25,000 cash prize and mentorship from the Russos in the development of the winner’s next project at the brothers’ Los Angeles studio.
- 11/28/2017
- by Jude Dry
- Indiewire
Youth in Revolt: Betzer’s Inexplicable Road Movie an Assortment of Prominent Instances
Director Andrew T. Betzer manages to concoct an impressively pronounced feature debut with the eerily titled Young Bodies Heal Quickly. Basically a meandering road movie about two brothers on the lam, their journey churns from magnetic portrayal of familial discord into disjointed episodes of increasingly surreal occurrences. Though Betzer’s refusal to adhere to any kind of cohesive narrative for his youthful protagonists eventually dampens the effectiveness of the film as it stumbles into its ambiguous finale, the film manages to be intriguing and unpredictable as a balancing act that is sometimes funny, observational, and even foreboding.
If their bodies heal quickly, we’re never certain of their psychological states, though both Older (Gabriel Croft) and Younger (Hale Lytle) may as well represent developmental, identity-less stages or echoes of inevitability (the figure known as Dad could...
Director Andrew T. Betzer manages to concoct an impressively pronounced feature debut with the eerily titled Young Bodies Heal Quickly. Basically a meandering road movie about two brothers on the lam, their journey churns from magnetic portrayal of familial discord into disjointed episodes of increasingly surreal occurrences. Though Betzer’s refusal to adhere to any kind of cohesive narrative for his youthful protagonists eventually dampens the effectiveness of the film as it stumbles into its ambiguous finale, the film manages to be intriguing and unpredictable as a balancing act that is sometimes funny, observational, and even foreboding.
If their bodies heal quickly, we’re never certain of their psychological states, though both Older (Gabriel Croft) and Younger (Hale Lytle) may as well represent developmental, identity-less stages or echoes of inevitability (the figure known as Dad could...
- 2/27/2015
- by Nicholas Bell
- IONCINEMA.com
Kids. Such as Sex, Lies, and Videotape or Reservoir Dogs before it, and such as Winter’s Bone, Blue Valentine and Fruitvale Station after it, Larry Clark & Harmony Korine’s seminal film is forever connected in “spirit” to the lieu where it received its secret midnight premiere screening in 1995. The Sundance Film Festival might be known as the birthplace of U.S indie filmmaking innovation, avant-gardism, a larger definition of the low budgeted film response to Hollywood in not only narrative but in the non-fiction form, but it is a festival made strong by its renewal and familiarity. That close acquaintanceness exists in Kids‘ starlets Rosario Dawson and Chloë Sevigny filmography/career path trajectory and connection to Park City (both have several indie films slated for ’14 – of which I’ve included in our predictions list) and it is that “familiarity” that is visibly noticeable in how I map out my annual predictions list.
- 11/18/2013
- by Eric Lavallee
- IONCINEMA.com
Hadewijch was an obscure 13th-century poet and mystic from the Dutch province of Brabant, whose name is taken by the 20-year-old French novice Céline (the non-professional actress Julie Sokolowski) in this characteristically inert film by the French moviemaker Bruno Dumont, a Robert Bresson follower of a religious bent. Céline is kicked out of her convent for excessive zealotry, which involves going without food and drink, and returns to study theology in Paris where her haut-bourgeois family (her father is in the government) lives in some style on the Ile St-Louis.
Having been rejected by the church she falls in with some young Arabs, who introduce her to a charismatic Muslim religious teacher and political activist. He takes her to witness the persecution of his people in an unnamed Middle Eastern country where she is apparently persuaded to participate in a terrorist action.
It's rather like a version of Louis Malle's Lacombe Lucien,...
Having been rejected by the church she falls in with some young Arabs, who introduce her to a charismatic Muslim religious teacher and political activist. He takes her to witness the persecution of his people in an unnamed Middle Eastern country where she is apparently persuaded to participate in a terrorist action.
It's rather like a version of Louis Malle's Lacombe Lucien,...
- 2/19/2012
- by Philip French
- The Guardian - Film News
The Woman In The Fifth (15)
(Pawel Pawlikowski, 2011, Fra/Pol/UK) Ethan Hawke, Kristin Scott Thomas, Joanna Kulig. 84 mins.
Mysteries abound in this sombre, 1970s-style drama, and so do women. Hawke's emotionally wracked American in Paris is plagued by them – not just the seductress of the title (Scott Thomas) but also his estranged wife and daughter, and the pretty Polish waitress. Plus some dodgy (male) gangster types. If it all seems too good to be true, it is, but this doesn't show its hand till very late on – maybe too late – and maybe too many cards, or too few.
Hadewijch (12A)
(Bruno Dumont, 2009, Fra) Julie Sokolowski, Yassine Salime, Karl Sarafidis. 105 mins.
Boldly drawing connections between (Christian) religious devotion and (Muslim) religious extremism, this radical but naturalistic drama follows a rejected nun whose search for spiritual solace takes her far out of her central Paris comfort zone, and deep into the paradoxes of faith.
(Pawel Pawlikowski, 2011, Fra/Pol/UK) Ethan Hawke, Kristin Scott Thomas, Joanna Kulig. 84 mins.
Mysteries abound in this sombre, 1970s-style drama, and so do women. Hawke's emotionally wracked American in Paris is plagued by them – not just the seductress of the title (Scott Thomas) but also his estranged wife and daughter, and the pretty Polish waitress. Plus some dodgy (male) gangster types. If it all seems too good to be true, it is, but this doesn't show its hand till very late on – maybe too late – and maybe too many cards, or too few.
Hadewijch (12A)
(Bruno Dumont, 2009, Fra) Julie Sokolowski, Yassine Salime, Karl Sarafidis. 105 mins.
Boldly drawing connections between (Christian) religious devotion and (Muslim) religious extremism, this radical but naturalistic drama follows a rejected nun whose search for spiritual solace takes her far out of her central Paris comfort zone, and deep into the paradoxes of faith.
- 2/18/2012
- by Steve Rose
- The Guardian - Film News
Bruno Dumont is back on form with this mysterious and unsettling film about a fiercely devout twentysomething
The disturbing, violent, neo-Bressonian work of the French film-maker Bruno Dumont has waxed and waned in potency over the years: his Life of Jesus (1997) and the bizarrely compelling Humanity (1999) established his vision. There is a social-realist aesthetic, and a stark, islanded beauty and bleakness in the areas of northern France where Dumont prefers to film; there is an enigmatic mysticism amid explicit brutality, and a distinctive use of non-professional actors encouraged to maintain an unsmiling blankness and transcendental ordinariness. (To the astonishment of some, Emmanuel Schotté won the best actor prize at Cannes for a deadpan, untutored, almost childlike performance as the troubled police officer in Humanity, his single screen credit to this day. He was certainly an eerily powerful presence.)
Dumont has begun to repeat himself lately, but Hadewijch, made three years...
The disturbing, violent, neo-Bressonian work of the French film-maker Bruno Dumont has waxed and waned in potency over the years: his Life of Jesus (1997) and the bizarrely compelling Humanity (1999) established his vision. There is a social-realist aesthetic, and a stark, islanded beauty and bleakness in the areas of northern France where Dumont prefers to film; there is an enigmatic mysticism amid explicit brutality, and a distinctive use of non-professional actors encouraged to maintain an unsmiling blankness and transcendental ordinariness. (To the astonishment of some, Emmanuel Schotté won the best actor prize at Cannes for a deadpan, untutored, almost childlike performance as the troubled police officer in Humanity, his single screen credit to this day. He was certainly an eerily powerful presence.)
Dumont has begun to repeat himself lately, but Hadewijch, made three years...
- 2/17/2012
- by Peter Bradshaw
- The Guardian - Film News
Updated through 5/19.
"French director Bruno Dumont may not make religious films as such — perhaps it’s truer to say, theological ones." Jonathan Romney for Screen: "Certainly, he makes films in which the big questions are invoked, but in ways less explicitly religious than obliquely metaphysical. In his sixth feature Outside Satan (Hors Satan), he seems to present a very ambivalent Jesus figure. Yet, until he pulls his big dramatic twist at the end, Dumont's drama is grounded in everyday concrete reality. Lead actors who initially seem uncommunicative, even unappealing, prove idiosyncratically compelling in a film that sees Dumont stripping his style to the bones, with echoes of his 1997 debut The Life of Jesus."
Rob Nelson for Variety: "Maddening, pretentious, hypnotic and transcendent in roughly equal measure, Dumont's minimalist study of an oddball poacher and the farm girl who keeps him company contains only a dozen 'dramatic' events, but they all register indelibly,...
"French director Bruno Dumont may not make religious films as such — perhaps it’s truer to say, theological ones." Jonathan Romney for Screen: "Certainly, he makes films in which the big questions are invoked, but in ways less explicitly religious than obliquely metaphysical. In his sixth feature Outside Satan (Hors Satan), he seems to present a very ambivalent Jesus figure. Yet, until he pulls his big dramatic twist at the end, Dumont's drama is grounded in everyday concrete reality. Lead actors who initially seem uncommunicative, even unappealing, prove idiosyncratically compelling in a film that sees Dumont stripping his style to the bones, with echoes of his 1997 debut The Life of Jesus."
Rob Nelson for Variety: "Maddening, pretentious, hypnotic and transcendent in roughly equal measure, Dumont's minimalist study of an oddball poacher and the farm girl who keeps him company contains only a dozen 'dramatic' events, but they all register indelibly,...
- 5/19/2011
- MUBI
If one contemplates the history of political cinema, it would appear that the greatest political films were made when a discursive framework – usually Marxist or liberal-democratic – was readily available. Rarely have political films not assumed ‘complete understanding’ of a political subject and this understanding has been provided by accepted ideological viewpoints. Instead of being tentative in their approach to their subjects, political films have been categorical – because of their confidence in their moral/ political positions. To illustrate, the anti-colonialism of Gilo Pontecorvo’s The Battle of Algiers (1966) which is post-Marxist and perhaps owes to Frantz Fanon, could not have been opposed. Costa Gavras’ Z (1969), which is set in an unnamed country (perhaps Greece) under a military junta, is confident of the universality of liberal-democratic values. Political films made after the end of Communism, works like The Lives of Others (2006), plead for freedom from tyranny and uphold similar liberal-democratic values which,...
- 3/8/2011
- by MK Raghvendra
- DearCinema.com
IFC's Hadewijch features starring debut for Julie Sokolowski. In support of indie film, we are pleased to offer the trailer for the drama in standard and high definition as well as the poster and images from the film which opened on December 24th in limited venues. The film focuses on Céline vel Hadewijch (played by newcomer Julie Sokolowski), a novice nun who shocks the mother superior of her convent with her ecstatic blind faith, and is then kicked out of the order. Hadewijch becomes Celine again, a young Parisian girl and daughter of a diplomat, and is led down dangerous paths in the real world, balancing between grace and madness in her rage and her passionate love for God...
- 1/4/2011
- Upcoming-Movies.com
IFC's Hadewijch features starring debut for Julie Sokolowski. In support of indie film, we are pleased to offer the trailer for the drama in standard and high definition as well as the poster and images from the film which opened on December 24th in limited venues. The film focuses on Céline vel Hadewijch (played by newcomer Julie Sokolowski), a novice nun who shocks the mother superior of her convent with her ecstatic blind faith, and is then kicked out of the order. Hadewijch becomes Celine again, a young Parisian girl and daughter of a diplomat, and is led down dangerous paths in the real world, balancing between grace and madness in her rage and her passionate love for God...
- 1/4/2011
- Upcoming-Movies.com
A former philosophy professor, 52-year-old writer-director Bruno Dumont got his start making commercial films in the ’80s, eventually penning a novel that served as the basis for his extraordinary 1996 debut La Vie de Jesus. Filmed in the tiny provincial hamlet of Bailleul, France, where Dumont grew up, this story of a listless gang of moped-riding teens has nothing at all to do with the Gospels: it is an oblique title for a movie that begins and ends with a death, and whose epileptic protagonist is an odd-looking, hauntingly inexpressive adolescent. Humanité, which won the Grand Prix at the 1999 Cannes Film Festival, mined a similar Bressonian aesthetic, scrutinizing an introverted, socially inept policeman who empathizes with a litter of pigs and accused criminals. Unlike his other films, which took years to complete, Twentynine Palms (2003) was conceived on the fly while Dumont was scouting locations in California, and the emphasis on mood...
- 1/3/2011
- by Damon Smith
- Filmmaker Magazine - Blog
Chicago – We have now reached the fourth and final week of the 13th Annual European Union Film Festival at the Siskel Film Center, and what a fantastic festival it has been. From international sensations to critically acclaimed gems rarely available in the Us, the EU annual line-up is consistently one of the finest offered by any festival in the Windy City.
The first three weeks were loaded with highlights that just seemed to get better as the days progressed. Some of the selections, such as Austria’s diabolical delight “The Bone Man” and the Netherlands’ beguiling documentary “Rembrandt’s J’Accuse,” were more entertaining than the majority of mainstream Hollywood releases. Both France and Italy had several exceptional entries this year, including Amos Gitai’s spellbinding “Disengagement” and Luca Guadagnino’s ravishing “I Am Love.” Read more here, here and here.
The final week is somewhat of a letdown in comparison,...
The first three weeks were loaded with highlights that just seemed to get better as the days progressed. Some of the selections, such as Austria’s diabolical delight “The Bone Man” and the Netherlands’ beguiling documentary “Rembrandt’s J’Accuse,” were more entertaining than the majority of mainstream Hollywood releases. Both France and Italy had several exceptional entries this year, including Amos Gitai’s spellbinding “Disengagement” and Luca Guadagnino’s ravishing “I Am Love.” Read more here, here and here.
The final week is somewhat of a letdown in comparison,...
- 3/25/2010
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Similar to the Golden Globes because it is a foreign group of film journalists who conduct the voting (though I'm sure they have no mandate to prefer films loaded in stars), this year's the 15th Lumiere Awards has a pair of films in the top tier that recently that duked it out for the Louis Delluc award. Philippe Lioret's Welcome (which just got picked up by Film Movement this week) and Jacques Audiard's A Prophet (a Spc release next February) received five and four noms respectively. - Similar to the Golden Globes because it is a foreign group of film journalists who conduct the voting (though I'm sure they have no mandate to prefer films loaded in stars), this year's the 15th Lumière Awards has a pair of films in the top tier that recently that duked it out for the Louis Delluc award. Philippe Lioret...
- 12/18/2009
- IONCINEMA.com
This isn't news per se, just wanted to point out the French poster for Bruno Dumont's Hadewijch - which happened to be my last film screened at Tiff, and for those who have the opportunity, I would suggest a great double bill with Jessica Hausner' Lourdes in the mix. - This isn't news per se, just wanted to point out the French poster for Bruno Dumont's Hadewijch - which happened to be my last film screened at Tiff, and for those who have the opportunity, I would suggest a great double bill with Jessica Hausner' Lourdes in the mix. Lourdes takes a very low-key comedic approach to questions of faith with Sylvie Testud playing a demoralized skeptic - you can tell by the look in her eyes, one of the only body movements she can control, that she views religious faith as something abstract and solely for the weak minded.
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
If my last public screening at Tiff was any indication, Bruno Dumont's Fipresci prize-winning film will be a difficult, less obvious film to market. I'm somewhat surprised that out of all the films that have remained unbought from Toronto, that it's Hadewijch that has found a home. - If my last public screening at Tiff was any indication, Bruno Dumont's Fipresci prize-winning film will be a difficult, less obvious film to market. I'm somewhat surprised that out of all the films that have remained unbought from Toronto, that it's Hadewijch that has found a home. IFC Films will have their work cut out for them - the film's heavy discourse on how religion can bring out the best and worst in people. IFC plans a 2010 release. The film is about a religious novice (Julie Sokolowski) whose ecstatic, blind faith leads to her expulsion from a convent.
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
Not a supporting character but the principle lead in Bruno Dumont's film which employs solely non-actors this time out, while her co-star had a lot of trouble keeping a straight face and made sure he looked away from not only the camera but the film 's lead actress, the results of Julie Sokolowski's professional debut should land her further roles. - #8. Julie Sokolowski Not a supporting character but the principle lead in Bruno Dumont's film which employs solely non-actors this time out, while her co-star had a lot of trouble keeping a straight face and made sure he looked away from not only the camera but the film 's lead actress, the results of Julie Sokolowski's professional debut should land her further roles. Evoking a sense of wonderment, strong faith and a smidgen of naiveté, she might remind some cinephiles of a Dardenne film character.
- 12/13/2009
- by Ioncinema.com Staff
- IONCINEMA.com
Above: Pema Tsedan’s The Search.
Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can now safely cast a selected glance back at this year's London International Film Festival high and low lights. As is inevitable with a festival round up, we look for themes, or—with want for a better word—tropes to associate an otherwise geopolitical program. Fortunately some convenient ones did arise.
Most compelling of them was, perhaps, the enduring topic: faith. Or as Jonathan Romney quipped in a pre-screening introduction: "this year was a good festival for nuns." Of course, he was referring to both Bruno Dumont and Eugène Green’s Hadewijch, and The Portuguese Nun, respectively—though Jessica Hausner’s Lourdes also fits this broad description.
Green’s enjoyable latest “transubstantiates” Lisbon into a site of spiritual reckoning, steered...
Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can now safely cast a selected glance back at this year's London International Film Festival high and low lights. As is inevitable with a festival round up, we look for themes, or—with want for a better word—tropes to associate an otherwise geopolitical program. Fortunately some convenient ones did arise.
Most compelling of them was, perhaps, the enduring topic: faith. Or as Jonathan Romney quipped in a pre-screening introduction: "this year was a good festival for nuns." Of course, he was referring to both Bruno Dumont and Eugène Green’s Hadewijch, and The Portuguese Nun, respectively—though Jessica Hausner’s Lourdes also fits this broad description.
Green’s enjoyable latest “transubstantiates” Lisbon into a site of spiritual reckoning, steered...
- 11/7/2009
- MUBI
Dominic Cooper kisses director Lone Scherfig at the premiere of An Education during the Times BFI 53rd London Film Festival at the Vue West End on October 20. Director Bruno Dumont and actress Julie Sokolowski arrive for the premiere of the widely praised religious-fanaticism drama Hadewijch, winner of the International Film Critics’ award at the 2009 Toronto Film Festival, during the Times BFI 53rd London Film Festival at the Vue West End on October 20. Bruno Dumont Photos: Ian Gavan/Getty Images...
- 10/26/2009
- by Joan Lister
- Alt Film Guide
Dave here, with the first of this week's daily reports from the London Film Festival, which is due to hit the unsuspecting public on Wednesday, but things have already brightened up for me now that I've moved into a rather grotty hotel. In a manner of speaking.
The first real success I've seen, A Single Man is a sensual, poetic, and really quite ravishing drama from fashion designer Tom Ford. It's a beautifully designed, stylish, effortlessly attractive film, and Ford's cinema-adjusted eye has a particular knack for the bodily, as you might expect - but all the stylistic flourishes tie into his own adaptation of Christopher Isherwood's novel with bountiful meaning. Particularly notable is his use of colour - dull and grey reflection of George's (Colin Firth) grief and depression frequently blossoms into sumptuous saturated colour, spurred by lust, laughter, or sometimes just the infectious spirit of youth. Slow-motion...
The first real success I've seen, A Single Man is a sensual, poetic, and really quite ravishing drama from fashion designer Tom Ford. It's a beautifully designed, stylish, effortlessly attractive film, and Ford's cinema-adjusted eye has a particular knack for the bodily, as you might expect - but all the stylistic flourishes tie into his own adaptation of Christopher Isherwood's novel with bountiful meaning. Particularly notable is his use of colour - dull and grey reflection of George's (Colin Firth) grief and depression frequently blossoms into sumptuous saturated colour, spurred by lust, laughter, or sometimes just the infectious spirit of youth. Slow-motion...
- 10/12/2009
- by Dave
- FilmExperience
- #8. Hadewijch Director: Bruno Dumont Cast: Julie Sokolowski, David Dewaele, Yassine Salim, Karl SarafidisDistributor: Rights Available. Buzz: There was plenty of speculation about the status of Hadewijch and why it may not have been included at Cannes and now even more talk about why its not competing in Venice. For those who love philosophy lessons embedded in their cinema - this may be one more exercise in just that. I'll admit to missing out on his last film (Flanders) his second Cannes Grand Jury winner, so I'm curious on catching up on a film that mostly employs non-actors. The Gist: The film is about a religious novice (Julie Sokolowski) whose ecstatic, blind faith leads to her expulsion from a convent. Returning to her former life, Hadewijch reverts to being Céline, a Parisienne and daughter of a diplomat. However, her passion for God, rage and encounters with Khaled and Nassir soon
- 8/26/2009
- IONCINEMA.com
- Out of the second wave of film titles (read here) announced for the upcoming Toronto Film Festival, it's the inclusion of Bruno Dumont's Hadewijch that would be the top of my must see list and this coming from the filmmaker whose 2004 film Twentynine Palms almost made me vomit. I'm always fascinated by elliptical form, so despite the negative previous experience I'm curious about artists/filmmakers such as Dumont. I was thinking that Hadewijch was set for Cannes (Flanders was showcased and won the Grand Prix in Cannes in 2006) and now I'm perplexed as to why the film is receiving a world premiere not in Venice, but non-competitive Toronto? The film is about a religious novice (Julie Sokolowski) whose ecstatic, blind faith leads to her expulsion from a convent. Returning to her former life, Hadewijch reverts to being Céline, a Parisienne and daughter of a diplomat. However, her passion for God,
- 7/16/2009
- IONCINEMA.com
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