Grey’s Anatomy and Quiz Lady actor Sandra Oh will star in the Off Broadway American premiere of Lucy Kirkwood’s The Welkin this summer.
The Atlantic Theater Company production begins previews Thursday, May 16, and will open Wednesday, June 12 for a limited engagement through Sunday, June 30.
Directed by Sarah Benson, The Welkin is set in Rural Suffolk, England, 1759, as the country waits for Halley’s Comet. A young woman is sentenced to hang for a heinous murder, and when she claims to be pregnant, a jury of twelve matrons are taken from their housework to decide whether she’s telling the truth or simply trying to escape the noose. Only midwife Lizzy Luke (Oh) is prepared to defend the girl against a mob baying for blood, matrons wrestling with their new authority and the devil in their midst.
Atlantic describes the work as a “dark, fierce,...
The Atlantic Theater Company production begins previews Thursday, May 16, and will open Wednesday, June 12 for a limited engagement through Sunday, June 30.
Directed by Sarah Benson, The Welkin is set in Rural Suffolk, England, 1759, as the country waits for Halley’s Comet. A young woman is sentenced to hang for a heinous murder, and when she claims to be pregnant, a jury of twelve matrons are taken from their housework to decide whether she’s telling the truth or simply trying to escape the noose. Only midwife Lizzy Luke (Oh) is prepared to defend the girl against a mob baying for blood, matrons wrestling with their new authority and the devil in their midst.
Atlantic describes the work as a “dark, fierce,...
- 2/27/2024
- by Greg Evans
- Deadline Film + TV
Sandra Oh will appear in the Off-Broadway premiere of The Welkin, written by Lucy Kirkwood at Atlantic Theater Company this spring.
Oh, known for her starring roles in Grey’s Anatomy and Killing Eve, among many others, has previously appeared on the New York stage in Off-Broadway productions including Satellites, Stop Kiss and Wild Goose Dreams. She will also appear in HBO/A24’s limited series adaptation of The Sympathizer, airing in April.
She is joined by a cast that also includes Dale Soules (Orange Is The New Black), Danny Wolohan (To Kill a Mockingbird), b (American (Tele)visions), Tilly Botsford (Off-Broadway debut), Paige Gilbert (Skin of Our Teeth), Ann Harada (Avenue Q), Jenn Kidwell (Underground Railroad Game), Mary McCann (Harper Regan), Emily Cass McDonnell (I’m Revolting), MacKenzie Mercer (Frozen national tour) and Haley Wong (Mary Gets Hers at McC).
Directed by Sarah Benson, an Obie Award winner for her direction of Fairview,...
Oh, known for her starring roles in Grey’s Anatomy and Killing Eve, among many others, has previously appeared on the New York stage in Off-Broadway productions including Satellites, Stop Kiss and Wild Goose Dreams. She will also appear in HBO/A24’s limited series adaptation of The Sympathizer, airing in April.
She is joined by a cast that also includes Dale Soules (Orange Is The New Black), Danny Wolohan (To Kill a Mockingbird), b (American (Tele)visions), Tilly Botsford (Off-Broadway debut), Paige Gilbert (Skin of Our Teeth), Ann Harada (Avenue Q), Jenn Kidwell (Underground Railroad Game), Mary McCann (Harper Regan), Emily Cass McDonnell (I’m Revolting), MacKenzie Mercer (Frozen national tour) and Haley Wong (Mary Gets Hers at McC).
Directed by Sarah Benson, an Obie Award winner for her direction of Fairview,...
- 2/27/2024
- by Caitlin Huston
- The Hollywood Reporter - Movie News
Every few years, the Academy tweaks the rules for its animated feature category, with the net result that the nominees tend to skew ever more mainstream. That makes it tough for most of this year’s hopefuls: A record-setting number of animated features submitted. Those who pick the noms are required to watch roughly a third before ranking their top five, which can include additional titles they might have seen on their own. Blockbusters naturally benefit, though “Flee” and “Marcel the Shell With Shoes On” earned nominations in 2022 and 2023, respectively, suggesting that artful indies still stand a chance.
The Boy and the Heron
Director: Hayao Miyazaki
Voices: Luca Padovan, Robert Pattinson
Studio: Studio Ghibli
Distributor: GKids
Rumors of Miyazaki’s retirement were greatly exaggerated, as the unstoppable creative force (who won an Oscar for “Spirited Away” in 2003) returns with a story inspired by his childhood memories during wartime. More fanciful than “The Wind Rises,...
The Boy and the Heron
Director: Hayao Miyazaki
Voices: Luca Padovan, Robert Pattinson
Studio: Studio Ghibli
Distributor: GKids
Rumors of Miyazaki’s retirement were greatly exaggerated, as the unstoppable creative force (who won an Oscar for “Spirited Away” in 2003) returns with a story inspired by his childhood memories during wartime. More fanciful than “The Wind Rises,...
- 12/5/2023
- by Peter Debruge
- Variety Film + TV
Gkids has unveiled the U.S. release date, first trailer and English-language voice cast for Ernest & Celestine: A Trip to Gibberitia, the sequel to the Oscar-nominated animated feature Ernest & Celestine, which it likewise released stateside.
Slated for a September 1 release at the Village East in New York, as well as at L.A.’s Laemmle Santa Monica and Laemmle Glendale and additional markets nationwide (view the full list here), the film based on the children’s books by Gabrielle Vincent has Andrew Kishino playing Ernest the bear, with Ashley Boettcher as his unlikely mouse friend Celestine. Others in this cast of the film, which is also coming to U.S. theaters in its original French-language form, include David Lodge, Anne Yatco, Lena Josephine Marano, Bill Lobley and Daniel Hagan. Check out its trailer above.
The new Ernest & Celestine flick nabbed a nomination for Best Animated Feature at the...
Slated for a September 1 release at the Village East in New York, as well as at L.A.’s Laemmle Santa Monica and Laemmle Glendale and additional markets nationwide (view the full list here), the film based on the children’s books by Gabrielle Vincent has Andrew Kishino playing Ernest the bear, with Ashley Boettcher as his unlikely mouse friend Celestine. Others in this cast of the film, which is also coming to U.S. theaters in its original French-language form, include David Lodge, Anne Yatco, Lena Josephine Marano, Bill Lobley and Daniel Hagan. Check out its trailer above.
The new Ernest & Celestine flick nabbed a nomination for Best Animated Feature at the...
- 7/24/2023
- by Matt Grobar
- Deadline Film + TV
New York, April 6, 2023– On Site Opera, New York’s pioneering opera company rooted in site-specific storytelling and the immersive experience, in partnership with the South Street Seaport Museum, brings drama and tragedy to Pier 16 on and around the historic lightship Ambrose with Puccini and Adami’s Il tabarro (The Cloak), May 14-17. This immersive outdoor musical experience follows last April’s production of Gianni Schicchi as part of the company’s multi-year cycle of Puccini’s Il Trittico.
On Site Opera music director Geoffrey McDonald conducts, and visual artist and opera director Laine Rettmer guest directs this brooding one act opera of a jealous love triangle that turns deadly on the banks of the Seine River. Staged on the lightship and on the pier where the audience is seated, the historic seaport offers the sights and sounds of 1900’s Paris where barge owner Michele, portrayed by baritone Eric McKeever, suspects his wife Giorgetta,...
On Site Opera music director Geoffrey McDonald conducts, and visual artist and opera director Laine Rettmer guest directs this brooding one act opera of a jealous love triangle that turns deadly on the banks of the Seine River. Staged on the lightship and on the pier where the audience is seated, the historic seaport offers the sights and sounds of 1900’s Paris where barge owner Michele, portrayed by baritone Eric McKeever, suspects his wife Giorgetta,...
- 4/9/2023
- by Music Martin Cid Magazine
- Martin Cid Music
Gkids has snapped up U.S. rights to Ernest & Celestine: A Trip To Gibberitia — the sequel to the acclaimed Ernest & Celestine, which landed a Best Animated Feature Oscar nom in 2014. The decorated producer and distributor of animation, celebrating its 15th anniversary, will put both the original French-language version of Gibberitia and a new English dub in theaters this year.
Related Story Laura Linney Comedy ‘The Miracle Club’ Acquired By Sony Pictures Classics Related Story 'Inu-Oh' Director Masaaki Yuasa On Exploring Undocumented Possibilities For A "Modern Interpretation Of Old Tales" Related Story As The Best Animated Feature Competition Heats Up, Can Netflix Or Another Newcomer Bring Home The Oscar?
Both Ernest & Celestine films are based on the children’s book series by Belgian author-illustrator Gabrielle Vincent. The original helmed by Stéphane Aubier, Vincent Patar and Benjamin Renner examines the unlikely friendship between a bear, Ernest (Lambert Wilson...
Related Story Laura Linney Comedy ‘The Miracle Club’ Acquired By Sony Pictures Classics Related Story 'Inu-Oh' Director Masaaki Yuasa On Exploring Undocumented Possibilities For A "Modern Interpretation Of Old Tales" Related Story As The Best Animated Feature Competition Heats Up, Can Netflix Or Another Newcomer Bring Home The Oscar?
Both Ernest & Celestine films are based on the children’s book series by Belgian author-illustrator Gabrielle Vincent. The original helmed by Stéphane Aubier, Vincent Patar and Benjamin Renner examines the unlikely friendship between a bear, Ernest (Lambert Wilson...
- 3/2/2023
- by Matt Grobar
- Deadline Film + TV
Channel 4 Welcomes Wonderhood Studios’ ‘Fur Babies’
Channel 4 has commissioned David Abraham’s Wonderhood Studios to produce a four-part doc series following Britain’s pet owners through the pregnancy and birth of their pets. In Fur Babies (working title), vet practices across the UK have been rigged to capture the initial ultrasounds and pregnancy checks, labors, complications, and the final heart-warming moments when the offspring are rehomed. Wonderhood, whose founder Abraham was once Channel 4 CEO, is producing in association with All3Media International.
France’s 440Hz Launches Music Supervision Arm (Exclusive)
French music rights management platform 44oHz has launched a music supervision branch aimed at aiding producers and directors. Among its focuses, it will recruit composers or bands to facilitate rights clearance or executive production. Initial projects include assisting on, Une zone à défendre which is Disney+’s first feature film produced in France, directed by Romain Cogitore with a cast...
Channel 4 has commissioned David Abraham’s Wonderhood Studios to produce a four-part doc series following Britain’s pet owners through the pregnancy and birth of their pets. In Fur Babies (working title), vet practices across the UK have been rigged to capture the initial ultrasounds and pregnancy checks, labors, complications, and the final heart-warming moments when the offspring are rehomed. Wonderhood, whose founder Abraham was once Channel 4 CEO, is producing in association with All3Media International.
France’s 440Hz Launches Music Supervision Arm (Exclusive)
French music rights management platform 44oHz has launched a music supervision branch aimed at aiding producers and directors. Among its focuses, it will recruit composers or bands to facilitate rights clearance or executive production. Initial projects include assisting on, Une zone à défendre which is Disney+’s first feature film produced in France, directed by Romain Cogitore with a cast...
- 11/7/2022
- by Jesse Whittock and Zac Ntim
- Deadline Film + TV
A cheering crowd at France’s Annecy Festival got a sneak peek at the hugely anticipated sequel to French family hit “Ernest and Célestine” on Thursday.
It was not disappointed-
“Ernest and Célestine: A Trip to Gibberitia” is slated for release in France in December, nearly a decade after the multi-prized original, which scored an Academy Award nomination alongside 2014 winner “Frozen.”
The 22-minute long preview screening in Annecy was followed by a short concert by the film’s composer, Vincent Courtois, playing the cello, and one of his band members on the clarinet.
“The story revolves a lot around music,” co-director Julien Chheng told Variety. “While making the film, we would wait for his demo to animate our characters. We wanted to be true to the Ernest and Celestine style which is very subtle: We didn’t want to use music to enhance emotions but rather allow the characters and...
It was not disappointed-
“Ernest and Célestine: A Trip to Gibberitia” is slated for release in France in December, nearly a decade after the multi-prized original, which scored an Academy Award nomination alongside 2014 winner “Frozen.”
The 22-minute long preview screening in Annecy was followed by a short concert by the film’s composer, Vincent Courtois, playing the cello, and one of his band members on the clarinet.
“The story revolves a lot around music,” co-director Julien Chheng told Variety. “While making the film, we would wait for his demo to animate our characters. We wanted to be true to the Ernest and Celestine style which is very subtle: We didn’t want to use music to enhance emotions but rather allow the characters and...
- 6/17/2022
- by Lise Pedersen
- Variety Film + TV
Producer Didier Brunner talks updating the Oscar-nominated animation into a TV series backed by Canal+ and France Television.
Veteran French producer Didier Brunner (The Triplets Of Belleville) has revealed further details about the TV spin off from his 2012 Oscar-Nominated animated feature, Ernestine & Celestine.
The 26-part series is expected to be ready in September of this year.
Speaking on an Annecy Film Festival panel ‘From Feature Film To TV Series (and Vice Versa)’, Brunner highlighted the challenges in transforming a hit feature into a small screen series.
“We didn’t just want to do Ernest & Celestine 2,” Brunner commented.
In order to make the TV series,...
Veteran French producer Didier Brunner (The Triplets Of Belleville) has revealed further details about the TV spin off from his 2012 Oscar-Nominated animated feature, Ernestine & Celestine.
The 26-part series is expected to be ready in September of this year.
Speaking on an Annecy Film Festival panel ‘From Feature Film To TV Series (and Vice Versa)’, Brunner highlighted the challenges in transforming a hit feature into a small screen series.
“We didn’t just want to do Ernest & Celestine 2,” Brunner commented.
In order to make the TV series,...
- 6/15/2016
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
By Anjelica Oswald
Managing Editor
When the 87th Oscar nominations for best animated feature were announced Jan. 15 and excluded The Lego Movie, the Internet exploded with confusion and disbelief. The film, which was largely expected by many pundits to win the Oscar, was a critical (holding a 96 percent positive score on Rotten Tomatoes) and commercial hit (earning $257.7 million stateside). It also earned Golden Globe and BAFTA Award nominations and won the Critics’ Choice Award for best animated film. It seemingly had everything going in its favor, so what went wrong?
One sentiment is that the animation branch of the Academy, which chooses the nominations, admire hand-drawn traditional animation and want to celebrate and preserve a fading craft rather than nominate solely computer animated and digital films.
The first computer animated film was Toy Story, which was released in 1995 and was nominated for original screenplay, original song and original score. Director...
Managing Editor
When the 87th Oscar nominations for best animated feature were announced Jan. 15 and excluded The Lego Movie, the Internet exploded with confusion and disbelief. The film, which was largely expected by many pundits to win the Oscar, was a critical (holding a 96 percent positive score on Rotten Tomatoes) and commercial hit (earning $257.7 million stateside). It also earned Golden Globe and BAFTA Award nominations and won the Critics’ Choice Award for best animated film. It seemingly had everything going in its favor, so what went wrong?
One sentiment is that the animation branch of the Academy, which chooses the nominations, admire hand-drawn traditional animation and want to celebrate and preserve a fading craft rather than nominate solely computer animated and digital films.
The first computer animated film was Toy Story, which was released in 1995 and was nominated for original screenplay, original song and original score. Director...
- 1/20/2015
- by Anjelica Oswald
- Scott Feinberg
Yes, that’s a six and a zero. It’s not a typo. While excessive might be the first adjective that comes to mind when looking at a year-end list with 60 films, it was the only way that I was able to highlight all the great works that I was able to watch this year. Even with such an extensive best-of countdown I was forced to leave at least another dozen great films. In 2014 I watched around 300 theatrically released films, and about 130 more between unreleased films from the festival circuit, the Oscar Foreign Language Submissions, and new films I watched as a screener for a couple festivals. Taking all these into consideration, a Top 60 list did not seem like an outrageous feat.
There were many other films that I did in fact watch but didn’t make the list, such as “Wild,” “Interstellar,” “The Imitation Game,” “Unbroken,” “The Theory of Everything,” “Big Hero 6,” “Big Eyes,” "A Most Violent Year" and “Into the Woods.” Although none of these ended up among my favorites, many of them served as vehicles for the cast to deliver outstanding performances or showcased great cinematography and VFX. I mention this to clarify that their omission was a conscious decision.
Evidently, there were several acclaimed films I did not manage to watch, which could have made a difference. These include films like "Love is Strange," “Maps to the Stars,” “Stray Dogs,” “Top Five,” and “Rosewater.”
The films on this list include films that had a regular release in 2014, films that some consider to be 2013 films but which got a full release in 2014, and films that had a one-week qualifying run in 2014 but which will officially open in 2015. Other amazing films that I saw at festivals, but which did not have a theatrical release of any form this year will be included in next year’s list. Examples of these include “The Tribe,” “Timbuktu,” “The Voices” “Gueros,” “Viktoria,” and “Kumiko, the Treasure Hunter.”
Like with all lists, this is a very personal selection of films that connected with me on different levels. Some choices might be strange, others expected, but all of them speak to what I find interesting or great about cinema. I hope that with this list you can find titles you haven’t hear of or others you might have forgotten about. It has been such a terrific year for films. Here is hoping for 2015 to be even more inspiring.
Feel free to share with us what your favorite films of 2014 were in the comments section.
Honorary Mention for Favorite TV Series: "Over the Garden Wall"
In Patrick McHale’s enchanting Cartoon Network miniseries, “Over the Garden Wall,” brothers Wirt (Elijah Wood) and adorable Greg (Collin Dean) travel through the Unknown, a magical forest filled with peculiar characters. Blending a classic fable look with witty humor and catchy songs for a fantastically refreshing 2D cartoon, the show is rapidly - and deservingly - becoming a fan favorite. Once you see little Greg performing the sweet tune Potatoes and Molasses, it will all make sense.
Top 60 Films Of 2014
60. "Happy Christmas"
Anna Kendrick is an irresponsible, yet charming, young woman in Joe Swanberg’s holiday-infused family dramedy. “Happy Christmas” is small in scope but big in subtle amusement. Baby Jude Swanberg steals every scene.
59."Mood Indigo"
Whimsical, ingenious, and uniquely confected, Michel Gondry’s adaption of Boris Vian’s novel stars Audrey Tautou and Romain Duris. His latest romantic fantasy is heartwarming visual candy.
Review "Mood Indigo"
Carlos Aguilar's interview with Tautou
58. "Lilting"
A cross-cultural connection in the aftermath of tragedy is at the center of Hong Khaou’s touching debut. Through great performances and ethereal cinematography the filmmaker reassures us love is the only language that matters.
Carlos Aguilar's interview with Hong Khaou
57. "Captain America: The Winter Soldier"
With an intelligent and fun screenplay, this new entry in the Marvel universe showed us that - despite all the badassery he is capable of - all that Steve Rogers wants is his best friend back.
Review "Captain America: The Winter Soldier"
56. "Oculus"
Mike Flanagan doesn’t resort to excessive gore or a monumental story to instill fear. Instead, he uses the effective mechanics of his story to turn a room with an old mirror, a camera, and a pair of youngsters into a terrifying space.
55. "Rich Hill"
Looking at a segment of the American population from a uniquely compassionate and insightful perspective, “Rich Hill” cherishes the humanity of its subject rather than patronizing them.
54. "The Notebook"
The brutality of war is observed through the eyes of a pair of twin brothers who decide to detach themselves from any emotional connection in order to survive. Unflinching and powerful, “The Notebook” is part dark fairytale and part historical drama.
Review "The Notebook"
Carlos Aguilar's interview with János Szász
53. "Blue Ruin"
This gritty and unpredictable thriller follows a man whose thirst for revenge becomes his death sentence. Macon Blair’s character goes from passively hiding in the shadows to becoming a ruthless rookie assassin. Tension is the name of the game here.
52. "The Book of Life"
The ancient Mexican celebration of Day of the Death comes to life in this vibrant and surprisingly authentic animated feature from Jorge Gutierrez and producer Guillermo del Toro. It’s a colorful and intricately designed vision of beloved tradition.
51. "The German Doctor" (Wakolda)
Lucia Puenzo’s captivating mystery focuses on infamous Nazi physician Josef Mengele, as he tries to test his disturbing practices on family while hiding in the Argentine countryside. Elegantly executed and definitely unsettling
Review "The German Doctor"
Carlos Aguilar's interview with Lucia Puenzo
Sydney Levine's Case Study on "The German Doctor"
50. "Still Alice"
Lost, confused, but still fighting to preserve her individuality while facing the imminent effects of Alzheimer’s disease, Alice refuses to give up. Julianne Moor is absolutely stunning and heartbreaking.
49. "American Sniper"
Eastwood’s best film in a long time packs thrilling combat sequences as it looks at post-9/11 American patriotism via a simple man turned murder weapon. Bradley Cooper delivers the best performance of his career.
48. "The Lego Movie "
Pop culture has never been as hilarious and witty as in this uniquely animated story about individuality, the nature of heroism, and the power of a child’s imagination. With cameos galore and jokes aplenty, everything is indeed awesome.
47. "Manuscripts Don't Burn "
Mohammad Rasoulof’s fearless cinematic statement denouncing the Iranian regime is an incredible testament to the power of film as a cultural weapon against injustice. Not only is the film politically relevant, but also an all-around gripping thriller.
Review "Manuscripts Don't Burn"
46. "Guardians of the Galaxy "
This summer Marvel outdid itself with the truly enjoyable first installment of its newest franchise. Charismatic Chris Pratt as Star Lord, a more than memorable soundtrack, and an eclectic group of sidekicks made this the smartest summer hit.
45. "In Bloom"
Set in Tbilisi, Georgia, this unique coming-of-age tale is a riveting hidden gem that sports mesmerizing performances from its young cast. The filmmakers find evocative, everyday beauty in the hardships of life in a war-torn country.
Review "In Bloom"
44. "Goodbye to Language"
Godard’s use of 3D in this highly experimental work produces a physical reaction on the viewer that proves how alive the auteur’s vision still is. He is as cryptic, curious, innovative, unapologetic, and brilliant as he was over 50 years ago.
43. "Mistaken for Strangers"
Tom Berninger’s personal documentary is not a film about The National, but about a man trying to find his own path while reconnecting with his older brother – who happens to be a rock star. Fun, heartfelt, and honest.
Carlos Aguilar's interview with Tom and Matt Berninger
42. "Manakamana"
Simple on the surface but hauntingly poetic, this documentary focuses on a series of people as they travel up to a sacred shrine in Nepal. Their faces speak in silences, laughter, and visible sadness, which form a language far more stirring than ephemeral words.
41. "Whiplash"
J.K. Simmons is a nightmarish instructor in Damien Chazelle’s fascinating debut about a young drummer by obsessive passion. The final sequence is an astonishing showstopper that sports marvelous, flawless editing
40. "The Overnighters"
What starts as the story about a Good Samaritan helping those in need despite criticisms, turns into an examination of a conflicted man. Faith, lies, regret and the judgmental eyes of an entire community will become his agonizing cross to bear.
39. "Rocks in My Pockets"
Latvian artist Signe Baumane uses 2D animation to work through her insecurities, her relationships with her estrange family, and depression. Craft and substance merge to construct an absorbing personal statement that is unexpectedly relatable.
Sydney Levine's Feature Piece on "Rocks in My Pockets"
38. "The Missing Picture"
To reconstruct his family’s past, and by extension that of his homeland under the Khmer Rouge, director Rithy Panh uses clay figurines and evocative narration in the absence of images from the time. One of the most original documentaries ever made.
Review "The Missing Picture"
37. "Snowpiercer"
Art house sensibilities imbedded into a powerful post-apocalyptic tale from South Korean director Bong Joon-ho gave us a superbly sophisticated actioner. Chris Evans delivers a different, but equally great heroic performance. However, Tilda Swinton takes the prize here.
36. "Life Itself"
Roger Ebert’s love for life and movies was endless. Despite major health issues near the end, his spirits and voice were never weakened. Steve James intimate documentary captures both the man and the critic in a lovely manner.
35. "Gone Girl"
Fincher’s latest focuses on a media circus fueled by a couple’s despicable lies and the public’s voyeuristic desire to find a villain and a victim. While Ben Affleck is good here, the film thrives on Rosamund Pike’s wickedly clever role.
34. "Two Days, One Night"
Only the Dardenne brothers can transform seemingly banal situations into compelling narratives that question the morality of their characters. In their latest masterful effort Marion Cotillard’s talent shines as she balances desperation, pride, and hope.
33. "Foxcatcher"
Driven by a trifecta of great performances, Bennett Miller’s drama shows a disturbed man in search of recognition and validation by any means necessary. Channing Tatum deserves more praise for his nuanced work here.
32. "Omar"
At once timeless and decisively current, Hany Abu-Asad’s Shakespearean crime drama deals with Israeli-Palestinian relations from a humanistic point of view. The political issues that serve as context become more urgent when seen through the characters’ struggles.
Review "Omar"
Carlos Aguilar's interview with Hany Abu-Assad
31. "Mr. Turner"
The awe-inspiring cinematography and Timothy Spall’s grumpy, yet endearing portrayal of one of Britain’s most revered painters make of “Mr. Turner” another successful addition to Mike Leigh’s near-perfect track record.
30. "Nymphomaniac"
Blasphemous, explicit, and cerebral as most of Lars von Trier’s works, this two-part recollection of the anecdotes takes us into the tortured mind of a sex addict. There is no sugarcoating or redemption to be found here, only a skillful provocateur who loves to revel in the playful bleakness of it all.
Review "Nymphomaniac Vol. 1"
Review "Nymphomaniac Vol. 2"
29. "Gloria"
A middle-aged woman takes control of her life in this excellent Chilean dramedy. The title character, played by the lovely Paulina Garcia, wants to find love once again and to live without restrains. As she dances the night away we are certain that, despite the hardships, she will.
Review "Gloria"
Sydney Levine's interview with Sebastian Lelio and Paulina Garcia
28. "The Babadook"
A vicious boogieman terrorizes a mother and her son in this Australian horror masterpiece. Like with the best films in the genre, is what you don’t see that’s the most disturbing. Dir. Jennifer Kent uses creepy guttural sounds, shadows, and a malevolent children’s book to psychologically inflict fear.
27. "Ernest & Celestine"
Delightfully crafted to look like a collection of gorgeous moving watercolors, this French animated feature based on Gabrielle Vincent’s books is a visual treat and reminds us of the innocent fables from yesteryear.
Carlos Aguilar's interview with Benjamin Renner
26. "Hide Your Smiling Faces"
Two brothers growing up in a small town are confronted with the notion of death and the complexities of the adult world in this remarkably done debut by Daniel Patrick Carbone. An absolute must-see that deserves a wider audience.
Review "Hide Your Smiling Faces"
25. "Stranger by the Lake"
In Alain Guiraudie’s beachside mystery, a murderous romance hides underneath warm weather and desire. This provocative, darkly comedic and splendidly acted slow-burner shows that danger is sometimes the most lethal aphrodisiac.
Carlos Aguilar's interview with Alain Guiraudie
24. "Heli"
Amat Escalante’s brave and brutally honest depiction of Mexico’s violent present is unquestionably a difficult cinematic experience. However, the filmmaker is capable of finding resilient hope in the midst of overwhelming despair.
Review "Heli"
Carlos Aguilar's interview with Amat Escalante
23. "CitizenFour"
Few embellishments are needed when you have such a shocking and important story told not from an outsider’s perspective, but from its source. Fiction falls short in comparison to the truths and secrets encompassed in Laura Poitras account of the Edward Snowden case.
22. "Force Majeure"
Gender roles are questioned with humorous but poignant observations on marriage and societal expectations in this Swedish hit from Ruben Östlund. Laugh-out-loud moments galore and an unforgettable “man cry” sequence are the result of a catastrophic controlled avalanche.
Carlos Aguilar's interview with Ruben Östlund and Johannes Kuhnke
21. "The Guest"
Adam Wingard’s perversely comedic stunner about a devilishly deceiving visitor was by far one of the most outrageously fun films I saw this year. It’s a masterwork of madness. I can’t wait to see what Wingard, writer Simon Barrett, and star Dan Stevens do next.
20. "Obvious Child"
Jenny Slate’s Donna Stern is navigating adulthood through laughter. Her standup performances are unfiltered, moving, and often hilariously distasteful, but always sincere. Slate and director Gillian Robespierre are a match made in comedy heaven.
Review "Obvious Child"
Carlos Aguilar's interview with Gillian Robespierre and Jenny Slate
19. "Inherent Vice"
There are numerous wacky characters and subplots in Paul Thomas Anderson’s adaption of Thomas Pynchon novel, but the real magic happens when Joaquin Phoenix and Josh Brolin are together on screen. “Motto panukeiku!” is all I have to say.
18. "Starred Up"
Jack O’Connell’s award-deserving performance packs raw energy, ferocious anger, and tragic vulnerability. Violence and respect are the only useful currencies in this potent prison drama that’s as thrilling as it’s emotionally devastating.
Carlos Aguilar's interview with David Mackenzie
17. "Listen Up Philip"
Brimming with originality and uncompromising humor, Alex Ross Perry’s look at the writing craft is pure brilliance. Jason Schwartzman stars as an obnoxious, self-centered young author. He is as utterly amusing and revels in his character’s hilarious arrogance.
16. "Boyhood"
Thanks to Richard Linklater’s perseverance we were able to experience an incredible and incomparable cinematic journey. Filled with small, but affecting moments of sorrow and joy, a child’s life - and that of those around him - literally unfolds on screen somewhere between reality and fiction.
15. "Selma"
Avoiding all the dreaded biopic clichés, director Ava DuVernay created a powerful historical drama that couldn’t be more opportune. Among a star-studded cast, David Oyelowo delivers a knockout performance as Dr. Martin Luther King Jr.
14. "Under the Skin"
Life on earth as seen by a seductive alien is simultaneously frightening and revelatory in Jonathan Glazer’s dazzling sci-fi character study. Scarlett Johansson is superb as a creature intrigued by the virtues and shortcomings of human nature.
Review "Under the Skin"
13. "The Grand Budapest Hotel"
Everything we love about Wes Anderson and much more is included in this stylized beauty of a film. Ralph Fiennes is an irreverent, classy, womanizer that gets into trouble with an array of quirky villains played by a topnotch cast. From its score to the production design, this is Anderson at his best.
12. "The Boxtrolls"
Laika’s craftsmanship reached a new level of delightful greatness with this darkly comedic period piece. Their brand of stop-motion animation is impeccable. Each character is meticulously created with a wonderful physicality that no other medium can provide.
Review "The Boxtrolls"
11. "Leviathan"
Andrey Zvyagintsev’s masterpiece dissects the complexity of Russian society through a family drama that is as intimate as it is monumental in the themes it explores. Religion, government, and betrayal are all monsters haunting a righteous man at the mercy or their powers.
Carlos Aguilar's interview with Andrey Zvyagintsev
10. "Only Lovers Left Alive"
Between desolated Detroit and a moody Marrakesh, Jim Jarmusch's darkly comedic film delivers an incredibly original tale about familiar bloodsuckers. Permeated in groovy rock and roll music, vintage wardrobe, blissful production design, and an otherworldly atmosphere, “Only Lovers Left Alive” reclaims vampires as graceful, complex, and cultured beings, rather than the vehicle for teenage fantasies
Review "Only Lovers Left Alive"
9. "Nightcrawler"
Brutally unapologetic about the bloodthirsty practices of today’s media, Dan Gilroy’s directorial debut is a fantastic vehicle for Jake Gyllenhaal to deliver a performance unlike anything he’s done before. Outrageously insightful, Gilroy’s writing is a perverse delight that is at once analytical and utterly entertaining.
8. "Birdman"
While definitely hilarious, Inarritu’s latest work offers sharp observations on the nature of art and artists. This is a giant leap into new territory for the acclaimed Mexican filmmaker. His undeniable talent directing actors is what elevates his work from just a brilliant idea to a work that thrives on touching human vulnerability. Added to this, Emanuel Lubeski’s work in the cinematography department is a visual treat.
7. "Wild Tales"
This insanely inventive collection of deranged stories questions violence and revenge from a comedic angle. Besides being a complete riot that packs in uproarious humor, Damian Szifron’s film demonstrates his ability to create a cohesive film out of diverse vignettes united by the dark side of human nature. From start to finish, “Wild Tales” is truly a savagely fun trip.
Sydney Levine's Feature Piece on "Wild Tales"
6. "The Tale of the Princess Kaguya"
Studio Ghibli’s co-founder Isao Takahata demonstrates once more that his work is as spectacular as anything else the studio has created. His brand of handcrafted animation is of a uniquely exquisite kind that flows on the screen like streams of vibrant beauty. ‘The Tale of the Princess Kaguya” is perhaps his most striking work
5. "A Girl Walks Home Alone at Night"
This black and white, Persian-language vampire film is a revelation. Style and story elegantly arranged to be poetic and ethereal throughout. Undoubtedly the most dazzling feature debut of the year. Ana Lily Amirpour has a unique vision forged out of her fascination with genre films, music, and other peculiar interests, all of which blend into a delightful cocktail of beauty, danger, and pure originality.
4. "Winter Sleep"
Nuri Bilge Ceylan defines what being an auteur means every times he is behind the camera. Palme d’Or or not, “Winter Sleep” is the only film over 3 hours that has kept me fully engaged for every second of it. Every line of dialogue is as thought provoking as the next without being pretentious. He finds the fibers of human behavior and stretches them to their limit in every single scene. Absolutely mesmerizing
Review "Winter Sleep"
Sydney Levine's Feature Piece on "Winter Sleep" from Cannes
3. "Mommy"
The tenderly violent love between a mother and a son make for an intoxicating tour de force. Xavier Dolan plays with aspect ratios, music, evocative cinematography and raw, maddening emotions to produce one of the most heartbreaking and intense experiences I’ve ever had watching a film. I was in a complete state of exhilaration until the very last, perfect, frame.
2. "Ida"
There is not a single miscalculation in Pawel Pawlikowski’s immaculate post-Holocaust drama. Each frame is a stunning work of sheer perfection. Flawless cinematography, riveting performances by both leading actresses, and a story that is subtle on the surface but carries intense undertones about spirituality and the consequences of guilt, make of “Ida” a masterwork to be cherished for years to come
Review "Ida"
Sydney Levine's interview with Pawel Pawlikowski
1. "Song of the Sea"
I'm certain some people will think me crazy for choosing this film as my favorite of the year, but witnessing Tomm Moore’s gorgeous and ethereal craftsmanship was an unforgettable experience. What he was able to achieve here, both in technique and emotional poignancy, is absolutely outstanding. "Song of the Sea" is one of the most blissfully beautiful animated films ever made. It is a gem beaming with awe-inspiring, heartwarming magic. It will be a long time before animation reaches this level of mesmerizing artistry again.
Review "Song of the Sea"
Carlos Aguilar's interview with Tomm Moore...
There were many other films that I did in fact watch but didn’t make the list, such as “Wild,” “Interstellar,” “The Imitation Game,” “Unbroken,” “The Theory of Everything,” “Big Hero 6,” “Big Eyes,” "A Most Violent Year" and “Into the Woods.” Although none of these ended up among my favorites, many of them served as vehicles for the cast to deliver outstanding performances or showcased great cinematography and VFX. I mention this to clarify that their omission was a conscious decision.
Evidently, there were several acclaimed films I did not manage to watch, which could have made a difference. These include films like "Love is Strange," “Maps to the Stars,” “Stray Dogs,” “Top Five,” and “Rosewater.”
The films on this list include films that had a regular release in 2014, films that some consider to be 2013 films but which got a full release in 2014, and films that had a one-week qualifying run in 2014 but which will officially open in 2015. Other amazing films that I saw at festivals, but which did not have a theatrical release of any form this year will be included in next year’s list. Examples of these include “The Tribe,” “Timbuktu,” “The Voices” “Gueros,” “Viktoria,” and “Kumiko, the Treasure Hunter.”
Like with all lists, this is a very personal selection of films that connected with me on different levels. Some choices might be strange, others expected, but all of them speak to what I find interesting or great about cinema. I hope that with this list you can find titles you haven’t hear of or others you might have forgotten about. It has been such a terrific year for films. Here is hoping for 2015 to be even more inspiring.
Feel free to share with us what your favorite films of 2014 were in the comments section.
Honorary Mention for Favorite TV Series: "Over the Garden Wall"
In Patrick McHale’s enchanting Cartoon Network miniseries, “Over the Garden Wall,” brothers Wirt (Elijah Wood) and adorable Greg (Collin Dean) travel through the Unknown, a magical forest filled with peculiar characters. Blending a classic fable look with witty humor and catchy songs for a fantastically refreshing 2D cartoon, the show is rapidly - and deservingly - becoming a fan favorite. Once you see little Greg performing the sweet tune Potatoes and Molasses, it will all make sense.
Top 60 Films Of 2014
60. "Happy Christmas"
Anna Kendrick is an irresponsible, yet charming, young woman in Joe Swanberg’s holiday-infused family dramedy. “Happy Christmas” is small in scope but big in subtle amusement. Baby Jude Swanberg steals every scene.
59."Mood Indigo"
Whimsical, ingenious, and uniquely confected, Michel Gondry’s adaption of Boris Vian’s novel stars Audrey Tautou and Romain Duris. His latest romantic fantasy is heartwarming visual candy.
Review "Mood Indigo"
Carlos Aguilar's interview with Tautou
58. "Lilting"
A cross-cultural connection in the aftermath of tragedy is at the center of Hong Khaou’s touching debut. Through great performances and ethereal cinematography the filmmaker reassures us love is the only language that matters.
Carlos Aguilar's interview with Hong Khaou
57. "Captain America: The Winter Soldier"
With an intelligent and fun screenplay, this new entry in the Marvel universe showed us that - despite all the badassery he is capable of - all that Steve Rogers wants is his best friend back.
Review "Captain America: The Winter Soldier"
56. "Oculus"
Mike Flanagan doesn’t resort to excessive gore or a monumental story to instill fear. Instead, he uses the effective mechanics of his story to turn a room with an old mirror, a camera, and a pair of youngsters into a terrifying space.
55. "Rich Hill"
Looking at a segment of the American population from a uniquely compassionate and insightful perspective, “Rich Hill” cherishes the humanity of its subject rather than patronizing them.
54. "The Notebook"
The brutality of war is observed through the eyes of a pair of twin brothers who decide to detach themselves from any emotional connection in order to survive. Unflinching and powerful, “The Notebook” is part dark fairytale and part historical drama.
Review "The Notebook"
Carlos Aguilar's interview with János Szász
53. "Blue Ruin"
This gritty and unpredictable thriller follows a man whose thirst for revenge becomes his death sentence. Macon Blair’s character goes from passively hiding in the shadows to becoming a ruthless rookie assassin. Tension is the name of the game here.
52. "The Book of Life"
The ancient Mexican celebration of Day of the Death comes to life in this vibrant and surprisingly authentic animated feature from Jorge Gutierrez and producer Guillermo del Toro. It’s a colorful and intricately designed vision of beloved tradition.
51. "The German Doctor" (Wakolda)
Lucia Puenzo’s captivating mystery focuses on infamous Nazi physician Josef Mengele, as he tries to test his disturbing practices on family while hiding in the Argentine countryside. Elegantly executed and definitely unsettling
Review "The German Doctor"
Carlos Aguilar's interview with Lucia Puenzo
Sydney Levine's Case Study on "The German Doctor"
50. "Still Alice"
Lost, confused, but still fighting to preserve her individuality while facing the imminent effects of Alzheimer’s disease, Alice refuses to give up. Julianne Moor is absolutely stunning and heartbreaking.
49. "American Sniper"
Eastwood’s best film in a long time packs thrilling combat sequences as it looks at post-9/11 American patriotism via a simple man turned murder weapon. Bradley Cooper delivers the best performance of his career.
48. "The Lego Movie "
Pop culture has never been as hilarious and witty as in this uniquely animated story about individuality, the nature of heroism, and the power of a child’s imagination. With cameos galore and jokes aplenty, everything is indeed awesome.
47. "Manuscripts Don't Burn "
Mohammad Rasoulof’s fearless cinematic statement denouncing the Iranian regime is an incredible testament to the power of film as a cultural weapon against injustice. Not only is the film politically relevant, but also an all-around gripping thriller.
Review "Manuscripts Don't Burn"
46. "Guardians of the Galaxy "
This summer Marvel outdid itself with the truly enjoyable first installment of its newest franchise. Charismatic Chris Pratt as Star Lord, a more than memorable soundtrack, and an eclectic group of sidekicks made this the smartest summer hit.
45. "In Bloom"
Set in Tbilisi, Georgia, this unique coming-of-age tale is a riveting hidden gem that sports mesmerizing performances from its young cast. The filmmakers find evocative, everyday beauty in the hardships of life in a war-torn country.
Review "In Bloom"
44. "Goodbye to Language"
Godard’s use of 3D in this highly experimental work produces a physical reaction on the viewer that proves how alive the auteur’s vision still is. He is as cryptic, curious, innovative, unapologetic, and brilliant as he was over 50 years ago.
43. "Mistaken for Strangers"
Tom Berninger’s personal documentary is not a film about The National, but about a man trying to find his own path while reconnecting with his older brother – who happens to be a rock star. Fun, heartfelt, and honest.
Carlos Aguilar's interview with Tom and Matt Berninger
42. "Manakamana"
Simple on the surface but hauntingly poetic, this documentary focuses on a series of people as they travel up to a sacred shrine in Nepal. Their faces speak in silences, laughter, and visible sadness, which form a language far more stirring than ephemeral words.
41. "Whiplash"
J.K. Simmons is a nightmarish instructor in Damien Chazelle’s fascinating debut about a young drummer by obsessive passion. The final sequence is an astonishing showstopper that sports marvelous, flawless editing
40. "The Overnighters"
What starts as the story about a Good Samaritan helping those in need despite criticisms, turns into an examination of a conflicted man. Faith, lies, regret and the judgmental eyes of an entire community will become his agonizing cross to bear.
39. "Rocks in My Pockets"
Latvian artist Signe Baumane uses 2D animation to work through her insecurities, her relationships with her estrange family, and depression. Craft and substance merge to construct an absorbing personal statement that is unexpectedly relatable.
Sydney Levine's Feature Piece on "Rocks in My Pockets"
38. "The Missing Picture"
To reconstruct his family’s past, and by extension that of his homeland under the Khmer Rouge, director Rithy Panh uses clay figurines and evocative narration in the absence of images from the time. One of the most original documentaries ever made.
Review "The Missing Picture"
37. "Snowpiercer"
Art house sensibilities imbedded into a powerful post-apocalyptic tale from South Korean director Bong Joon-ho gave us a superbly sophisticated actioner. Chris Evans delivers a different, but equally great heroic performance. However, Tilda Swinton takes the prize here.
36. "Life Itself"
Roger Ebert’s love for life and movies was endless. Despite major health issues near the end, his spirits and voice were never weakened. Steve James intimate documentary captures both the man and the critic in a lovely manner.
35. "Gone Girl"
Fincher’s latest focuses on a media circus fueled by a couple’s despicable lies and the public’s voyeuristic desire to find a villain and a victim. While Ben Affleck is good here, the film thrives on Rosamund Pike’s wickedly clever role.
34. "Two Days, One Night"
Only the Dardenne brothers can transform seemingly banal situations into compelling narratives that question the morality of their characters. In their latest masterful effort Marion Cotillard’s talent shines as she balances desperation, pride, and hope.
33. "Foxcatcher"
Driven by a trifecta of great performances, Bennett Miller’s drama shows a disturbed man in search of recognition and validation by any means necessary. Channing Tatum deserves more praise for his nuanced work here.
32. "Omar"
At once timeless and decisively current, Hany Abu-Asad’s Shakespearean crime drama deals with Israeli-Palestinian relations from a humanistic point of view. The political issues that serve as context become more urgent when seen through the characters’ struggles.
Review "Omar"
Carlos Aguilar's interview with Hany Abu-Assad
31. "Mr. Turner"
The awe-inspiring cinematography and Timothy Spall’s grumpy, yet endearing portrayal of one of Britain’s most revered painters make of “Mr. Turner” another successful addition to Mike Leigh’s near-perfect track record.
30. "Nymphomaniac"
Blasphemous, explicit, and cerebral as most of Lars von Trier’s works, this two-part recollection of the anecdotes takes us into the tortured mind of a sex addict. There is no sugarcoating or redemption to be found here, only a skillful provocateur who loves to revel in the playful bleakness of it all.
Review "Nymphomaniac Vol. 1"
Review "Nymphomaniac Vol. 2"
29. "Gloria"
A middle-aged woman takes control of her life in this excellent Chilean dramedy. The title character, played by the lovely Paulina Garcia, wants to find love once again and to live without restrains. As she dances the night away we are certain that, despite the hardships, she will.
Review "Gloria"
Sydney Levine's interview with Sebastian Lelio and Paulina Garcia
28. "The Babadook"
A vicious boogieman terrorizes a mother and her son in this Australian horror masterpiece. Like with the best films in the genre, is what you don’t see that’s the most disturbing. Dir. Jennifer Kent uses creepy guttural sounds, shadows, and a malevolent children’s book to psychologically inflict fear.
27. "Ernest & Celestine"
Delightfully crafted to look like a collection of gorgeous moving watercolors, this French animated feature based on Gabrielle Vincent’s books is a visual treat and reminds us of the innocent fables from yesteryear.
Carlos Aguilar's interview with Benjamin Renner
26. "Hide Your Smiling Faces"
Two brothers growing up in a small town are confronted with the notion of death and the complexities of the adult world in this remarkably done debut by Daniel Patrick Carbone. An absolute must-see that deserves a wider audience.
Review "Hide Your Smiling Faces"
25. "Stranger by the Lake"
In Alain Guiraudie’s beachside mystery, a murderous romance hides underneath warm weather and desire. This provocative, darkly comedic and splendidly acted slow-burner shows that danger is sometimes the most lethal aphrodisiac.
Carlos Aguilar's interview with Alain Guiraudie
24. "Heli"
Amat Escalante’s brave and brutally honest depiction of Mexico’s violent present is unquestionably a difficult cinematic experience. However, the filmmaker is capable of finding resilient hope in the midst of overwhelming despair.
Review "Heli"
Carlos Aguilar's interview with Amat Escalante
23. "CitizenFour"
Few embellishments are needed when you have such a shocking and important story told not from an outsider’s perspective, but from its source. Fiction falls short in comparison to the truths and secrets encompassed in Laura Poitras account of the Edward Snowden case.
22. "Force Majeure"
Gender roles are questioned with humorous but poignant observations on marriage and societal expectations in this Swedish hit from Ruben Östlund. Laugh-out-loud moments galore and an unforgettable “man cry” sequence are the result of a catastrophic controlled avalanche.
Carlos Aguilar's interview with Ruben Östlund and Johannes Kuhnke
21. "The Guest"
Adam Wingard’s perversely comedic stunner about a devilishly deceiving visitor was by far one of the most outrageously fun films I saw this year. It’s a masterwork of madness. I can’t wait to see what Wingard, writer Simon Barrett, and star Dan Stevens do next.
20. "Obvious Child"
Jenny Slate’s Donna Stern is navigating adulthood through laughter. Her standup performances are unfiltered, moving, and often hilariously distasteful, but always sincere. Slate and director Gillian Robespierre are a match made in comedy heaven.
Review "Obvious Child"
Carlos Aguilar's interview with Gillian Robespierre and Jenny Slate
19. "Inherent Vice"
There are numerous wacky characters and subplots in Paul Thomas Anderson’s adaption of Thomas Pynchon novel, but the real magic happens when Joaquin Phoenix and Josh Brolin are together on screen. “Motto panukeiku!” is all I have to say.
18. "Starred Up"
Jack O’Connell’s award-deserving performance packs raw energy, ferocious anger, and tragic vulnerability. Violence and respect are the only useful currencies in this potent prison drama that’s as thrilling as it’s emotionally devastating.
Carlos Aguilar's interview with David Mackenzie
17. "Listen Up Philip"
Brimming with originality and uncompromising humor, Alex Ross Perry’s look at the writing craft is pure brilliance. Jason Schwartzman stars as an obnoxious, self-centered young author. He is as utterly amusing and revels in his character’s hilarious arrogance.
16. "Boyhood"
Thanks to Richard Linklater’s perseverance we were able to experience an incredible and incomparable cinematic journey. Filled with small, but affecting moments of sorrow and joy, a child’s life - and that of those around him - literally unfolds on screen somewhere between reality and fiction.
15. "Selma"
Avoiding all the dreaded biopic clichés, director Ava DuVernay created a powerful historical drama that couldn’t be more opportune. Among a star-studded cast, David Oyelowo delivers a knockout performance as Dr. Martin Luther King Jr.
14. "Under the Skin"
Life on earth as seen by a seductive alien is simultaneously frightening and revelatory in Jonathan Glazer’s dazzling sci-fi character study. Scarlett Johansson is superb as a creature intrigued by the virtues and shortcomings of human nature.
Review "Under the Skin"
13. "The Grand Budapest Hotel"
Everything we love about Wes Anderson and much more is included in this stylized beauty of a film. Ralph Fiennes is an irreverent, classy, womanizer that gets into trouble with an array of quirky villains played by a topnotch cast. From its score to the production design, this is Anderson at his best.
12. "The Boxtrolls"
Laika’s craftsmanship reached a new level of delightful greatness with this darkly comedic period piece. Their brand of stop-motion animation is impeccable. Each character is meticulously created with a wonderful physicality that no other medium can provide.
Review "The Boxtrolls"
11. "Leviathan"
Andrey Zvyagintsev’s masterpiece dissects the complexity of Russian society through a family drama that is as intimate as it is monumental in the themes it explores. Religion, government, and betrayal are all monsters haunting a righteous man at the mercy or their powers.
Carlos Aguilar's interview with Andrey Zvyagintsev
10. "Only Lovers Left Alive"
Between desolated Detroit and a moody Marrakesh, Jim Jarmusch's darkly comedic film delivers an incredibly original tale about familiar bloodsuckers. Permeated in groovy rock and roll music, vintage wardrobe, blissful production design, and an otherworldly atmosphere, “Only Lovers Left Alive” reclaims vampires as graceful, complex, and cultured beings, rather than the vehicle for teenage fantasies
Review "Only Lovers Left Alive"
9. "Nightcrawler"
Brutally unapologetic about the bloodthirsty practices of today’s media, Dan Gilroy’s directorial debut is a fantastic vehicle for Jake Gyllenhaal to deliver a performance unlike anything he’s done before. Outrageously insightful, Gilroy’s writing is a perverse delight that is at once analytical and utterly entertaining.
8. "Birdman"
While definitely hilarious, Inarritu’s latest work offers sharp observations on the nature of art and artists. This is a giant leap into new territory for the acclaimed Mexican filmmaker. His undeniable talent directing actors is what elevates his work from just a brilliant idea to a work that thrives on touching human vulnerability. Added to this, Emanuel Lubeski’s work in the cinematography department is a visual treat.
7. "Wild Tales"
This insanely inventive collection of deranged stories questions violence and revenge from a comedic angle. Besides being a complete riot that packs in uproarious humor, Damian Szifron’s film demonstrates his ability to create a cohesive film out of diverse vignettes united by the dark side of human nature. From start to finish, “Wild Tales” is truly a savagely fun trip.
Sydney Levine's Feature Piece on "Wild Tales"
6. "The Tale of the Princess Kaguya"
Studio Ghibli’s co-founder Isao Takahata demonstrates once more that his work is as spectacular as anything else the studio has created. His brand of handcrafted animation is of a uniquely exquisite kind that flows on the screen like streams of vibrant beauty. ‘The Tale of the Princess Kaguya” is perhaps his most striking work
5. "A Girl Walks Home Alone at Night"
This black and white, Persian-language vampire film is a revelation. Style and story elegantly arranged to be poetic and ethereal throughout. Undoubtedly the most dazzling feature debut of the year. Ana Lily Amirpour has a unique vision forged out of her fascination with genre films, music, and other peculiar interests, all of which blend into a delightful cocktail of beauty, danger, and pure originality.
4. "Winter Sleep"
Nuri Bilge Ceylan defines what being an auteur means every times he is behind the camera. Palme d’Or or not, “Winter Sleep” is the only film over 3 hours that has kept me fully engaged for every second of it. Every line of dialogue is as thought provoking as the next without being pretentious. He finds the fibers of human behavior and stretches them to their limit in every single scene. Absolutely mesmerizing
Review "Winter Sleep"
Sydney Levine's Feature Piece on "Winter Sleep" from Cannes
3. "Mommy"
The tenderly violent love between a mother and a son make for an intoxicating tour de force. Xavier Dolan plays with aspect ratios, music, evocative cinematography and raw, maddening emotions to produce one of the most heartbreaking and intense experiences I’ve ever had watching a film. I was in a complete state of exhilaration until the very last, perfect, frame.
2. "Ida"
There is not a single miscalculation in Pawel Pawlikowski’s immaculate post-Holocaust drama. Each frame is a stunning work of sheer perfection. Flawless cinematography, riveting performances by both leading actresses, and a story that is subtle on the surface but carries intense undertones about spirituality and the consequences of guilt, make of “Ida” a masterwork to be cherished for years to come
Review "Ida"
Sydney Levine's interview with Pawel Pawlikowski
1. "Song of the Sea"
I'm certain some people will think me crazy for choosing this film as my favorite of the year, but witnessing Tomm Moore’s gorgeous and ethereal craftsmanship was an unforgettable experience. What he was able to achieve here, both in technique and emotional poignancy, is absolutely outstanding. "Song of the Sea" is one of the most blissfully beautiful animated films ever made. It is a gem beaming with awe-inspiring, heartwarming magic. It will be a long time before animation reaches this level of mesmerizing artistry again.
Review "Song of the Sea"
Carlos Aguilar's interview with Tomm Moore...
- 1/1/2015
- by Carlos Aguilar
- Sydney's Buzz
I cannot remember the last time I was so thoroughly charmed by a film as I was by Ernest & Celestine, an Academy Award-nominated animated feature adapted from the children’s book series by Belgian author and illustrator Gabrielle Vincent. It tells the story of a spunky little mouse named Celestine who is training to become a dentist but truly wants to be an artist. In Celestine’s world, the mice inhabit a bustling city below ground, while the town above is populated by bears. One such bear is Ernest, an aspiring but poor street performer with a hankering for sweets. Mice and bears live in fear of each other and never enter each other’s worlds; however, Ernest and Celestine end up forming an unlikely friendship when they go on the run together as wanted criminals following the theft of a great deal of candy...and teeth (yes, teeth).
Read more.
Read more.
- 7/25/2014
- by Lee Jutton
- JustPressPlay.net
Cute in Court: Bears and Mice Controversially Live In Harmony
We are not for lack of anthropomorphized mice nor bears, from all the way back to Mickey through Ratatouille‘s Remy, to Maurice Sendak’s Little Bear and Jungle Book‘s Baloo, yet Stéphane Aubier, Vincent Patar & Benjamin Renner’s loving adaptation of Gabrielle Vincent’s charmingly subdued children’s book series Ernest & Celestine most recalls that of another beloved bear – Winnie the Pooh. While Vincent’s original works utilized a somewhat scribbly watercolor look, the adapting filmmakers have acclimated Vincent’s style to the animated form, and in doing, have produced an earthy but elegant hand drawn effect that closely resembles Disney’s watercolored take on Alan Alexander Milne’s Hundred Acre Wood. Though bumbling and forever as hungry as Pooh bear, Ernest inhibits an allegorical microcosm far less innocent and far more socially critical than his honey-crazed counterpart.
We are not for lack of anthropomorphized mice nor bears, from all the way back to Mickey through Ratatouille‘s Remy, to Maurice Sendak’s Little Bear and Jungle Book‘s Baloo, yet Stéphane Aubier, Vincent Patar & Benjamin Renner’s loving adaptation of Gabrielle Vincent’s charmingly subdued children’s book series Ernest & Celestine most recalls that of another beloved bear – Winnie the Pooh. While Vincent’s original works utilized a somewhat scribbly watercolor look, the adapting filmmakers have acclimated Vincent’s style to the animated form, and in doing, have produced an earthy but elegant hand drawn effect that closely resembles Disney’s watercolored take on Alan Alexander Milne’s Hundred Acre Wood. Though bumbling and forever as hungry as Pooh bear, Ernest inhibits an allegorical microcosm far less innocent and far more socially critical than his honey-crazed counterpart.
- 3/13/2014
- by Jordan M. Smith
- IONCINEMA.com
Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.
The film's gorgeous, hand-drawn animation is as lovingly detailed as the drawings a girl mouse named Celestine is secretly making about an imaginary mouse and bear friendship. Such a thing is anathema in the bear-hating mouse world, which exists directly below a French city populated by mouse-fearing bears (who live like humans).
One night, Celestine ventures above ground and helps a very hungry bear named Ernest break into a candy shop, an act of generosity that sparks a friendship more wonderful than any Celestine could have imagined. In adapting Gabrielle Vincent's children's book series (huge in Europe), screenwriter Daniel Pennac and first-time director Benjamin R...
The film's gorgeous, hand-drawn animation is as lovingly detailed as the drawings a girl mouse named Celestine is secretly making about an imaginary mouse and bear friendship. Such a thing is anathema in the bear-hating mouse world, which exists directly below a French city populated by mouse-fearing bears (who live like humans).
One night, Celestine ventures above ground and helps a very hungry bear named Ernest break into a candy shop, an act of generosity that sparks a friendship more wonderful than any Celestine could have imagined. In adapting Gabrielle Vincent's children's book series (huge in Europe), screenwriter Daniel Pennac and first-time director Benjamin R...
- 3/12/2014
- Village Voice
If you're only mildly curious about the Oscar-nominated (Best Animated Film) "Ernest & Celestine," then we can all but guarantee that you'll be scrambling to see it after you watch this gorgeous exclusive preview. (We liken it to watching a million watercolor paintings come to life, but you can come up with your own simile once the initial wave of child-like wonder wears off.)
Based on the beloved book by French author Gabrielle Vincent, "Ernest & Celestine" tells the tale of an unexpected friendship between an orphaned mouse (Celestine, voiced by Mackenzie Foy) and a down-and-out bear (Ernest, voiced by Forest Whitaker). How adorable is that?! Lauren Bacall, Paul Giamatti, William H. Macy, Megan Mullally, Nick Offerman, and Jeffrey Wright also lend their voices to the movie.
In our preview, we follow the impossibly cute Celestine as she makes her way through the bustling underground village she calls home. There's a mouse in a boat,...
Based on the beloved book by French author Gabrielle Vincent, "Ernest & Celestine" tells the tale of an unexpected friendship between an orphaned mouse (Celestine, voiced by Mackenzie Foy) and a down-and-out bear (Ernest, voiced by Forest Whitaker). How adorable is that?! Lauren Bacall, Paul Giamatti, William H. Macy, Megan Mullally, Nick Offerman, and Jeffrey Wright also lend their voices to the movie.
In our preview, we follow the impossibly cute Celestine as she makes her way through the bustling underground village she calls home. There's a mouse in a boat,...
- 2/28/2014
- by Tim Hayne
- Moviefone
Might be the most ridiculously cute movie I’ve ever seen, in a way that transforms adorableness into something honest and wise and deeply satisfying. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto)
This might be the most ridiculously cute movie I’ve ever seen. Not cute in a schmalty, sappy, insipid way, but in a way that transforms adorableness into something honest and wise and deeply satisfying, like how the best children’s picture books do. (Indeed, this is based on the series of books by Gabrielle Vincent.) An ineffable sweetness arises as if by accident from this simple story of a mouse, Celestine (the voice of Pauline Brunner), and a bear, Ernest (the voice of Lambert Wilson: Flawless), who overcome the “natural” animosity between their kind to...
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto)
This might be the most ridiculously cute movie I’ve ever seen. Not cute in a schmalty, sappy, insipid way, but in a way that transforms adorableness into something honest and wise and deeply satisfying, like how the best children’s picture books do. (Indeed, this is based on the series of books by Gabrielle Vincent.) An ineffable sweetness arises as if by accident from this simple story of a mouse, Celestine (the voice of Pauline Brunner), and a bear, Ernest (the voice of Lambert Wilson: Flawless), who overcome the “natural” animosity between their kind to...
- 2/26/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
Taboo friendship is one of the many resonant themes in the sweetly strange and delicately animated “Ernest & Celestine,” which is up for the Best Animated Feature Oscar, and is co-directed by Stephane Aubier, Vincent Patar and Benjamin Renner. The French film is based on a series of twenty children’s books by Gabrielle Vincent, which follows the ongoing adventures of a bear and mouse, illustrating both literally and figuratively that odd couples can endure over time.Celestine (voiced by Pauline Brunner in the French version; Mackenzie Foy in the American dubbed version) is a young mouse with aspirations of being an artist, but forced into dental school. (The head mouse at the dental office where she studies waxes poetic on the importance of the incisor to the greater mouse civilization.) The best way to procure extra incisors for beleaguered mice missing teeth is for the students to steal them from...
- 2/24/2014
- by Beth Hanna
- Thompson on Hollywood
I named Ernest & Celestine as the Best Animated Film of 2013 in my 2013 RopeofSilicon Awards and yet it hasn't even hit theaters here in the States yet outside of an Oscar-qualifying run late last year. Directed by A Town Called Panic helmers Stephane Aubier and Vincent Patar along with Benjamin Renner, the film has been granted an English dubbing for its Us release as it will open in Los Angeles on February 28 and New York on March 14 followed by national expansion to all major Us markets over the subsequent weekends. The story follows the two title characters, a mouse named Celestine and a bear named Ernest. In this story, based on the book by Gabrielle Vincent, the bears live above ground while the mice live below. Unlike her fellow mice, Celestine is an artist and a dreamer - and when she nearly ends up as breakfast for ursine troubadour Ernest, the two form an unlikely bond.
- 2/6/2014
- by Brad Brevet
- Rope of Silicon
5. The Guest (Adam Wingard)
Having not seen A Horrible Way to Die, You’re Next or either editions of V/H/S, I had not a clue what I was in for with Adam Wingard’s latest, but I am sure as hell glad I was willing and able to squeeze in its midnight showing after 5 other eventful screenings earlier that day. The Guest is some kind of amazingly reworked Universal Soldier, retrofit with perfect servings of camp, revenge, charm and an 80s-tinged synthesizer soundtrack that’s only topped by Dan Steven’s stunningly charismatic superman performance. Over-the-top in all of the best ways and still coolly calculated in its brazenly stylized choices, The Guest is a hilarious action throwback that has future midnight classic written all over it.
4. Obvious Child (Gillian Robespierre)
I did not expect that a comedy about abortion would be one of the best films I...
Having not seen A Horrible Way to Die, You’re Next or either editions of V/H/S, I had not a clue what I was in for with Adam Wingard’s latest, but I am sure as hell glad I was willing and able to squeeze in its midnight showing after 5 other eventful screenings earlier that day. The Guest is some kind of amazingly reworked Universal Soldier, retrofit with perfect servings of camp, revenge, charm and an 80s-tinged synthesizer soundtrack that’s only topped by Dan Steven’s stunningly charismatic superman performance. Over-the-top in all of the best ways and still coolly calculated in its brazenly stylized choices, The Guest is a hilarious action throwback that has future midnight classic written all over it.
4. Obvious Child (Gillian Robespierre)
I did not expect that a comedy about abortion would be one of the best films I...
- 2/6/2014
- by Jordan M. Smith
- IONCINEMA.com
Reworking the vision of the late Belgian author Gabrielle Vincent for the screen proved to be an utter success for director Benjamin Renner and his co-directors Stéphane Aubier and Vincent Pata. The gorgeous illustrations and endearing story of her characters has been translated into animation in a sublimely elegant manner by the trio of filmmakers. In the film Ernest & Celestine the imperfect nature of her drawings and the watercolor backgrounds have been kept intact, which makes for a delightful and warm atmosphere throughout the piece. This is an artful, handcrafted, and unforgettable piece of animation unlike the fast-paced and formulaic movies that dominate the market today. Following the story of Celestine, a loving mouse who wants to become friends with someone from another world - a huge bear named Ernest, the film is heartwarming and absolutely beautiful to look at. Director Benjamin Renner talked to us about the process of adapting Vincent's work, the music, the voice over, and why these pair of unlikely friends are so unavoidably likeable.
Ernest & Celestine will screen at this year's Sundance Film Festival as part of a new section titled 'Sundance Kids'
Carlos Aguilar: Where you familiar with the material before getting involved in the project, or how difficult did you find adapting Gabrielle Vincent’s storybooks into a film?
Benjamin Renner: I actually didn’t know the books when I was a kid. I got the book when the producer asked me to work on the film, so I didn’t have any nostalgia about the books. It was more about discovering everything. As I started working on the adaptation, I really loved the illustrations and the minimalism, and it was something very beautiful. I wanted to make animation that looked like an animated sketchbook. We wanted to be able to “feel the paper” like it was a book, so we used watercolor backgrounds and things like such.
Aguilar: Did you and your co-directors feel any pressure or great responsibility since these are characters loved by many people with an extensive fan base?
Renner: There was a lot of pressure of course. Gabrielle Vincent passed away so she couldn’t tell us what she thought of the film or anything, so we had to rely on what we thought she would have liked on the film. So surely I felt a lot of pressure.
Aguilar: Was the character design entirely inspired by the original books, or did you have other animated films as inspiration?
Renner: It was mainly based on the books. We had a wonderful designer who did all the characters, and of course he was always looking at the books. Sometimes there were some characters that like the dentist who didn’t exist in the book, so he had to create them.
Aguilar: For the voice work, where you involved in the process? Did you choose who was going to voice each character?
Renner: I was working with the man in charge of the casting. I helped directing the action telling them “Maybe you should do it more like this or like that”, and then I was also there for the recording sessions. We did it twice, once before we did the animation, and when we were done with the animation we recorded all the actors once again, so we could really be more precise on certain scenes.
Aguilar: What was the approach used by the screenwriter when creating this story out of so many different books that revolve around the characters?
Renner: He didn’t really try to take all the books and make it into one story. He wanted to make his own story. The thing is, he knew Gabrielle Vincent the author of the books, and he knew she was a very delicate person and vey sensitive. He knew her books were more like a refuge, like a little paradise. She was drawing a paradise because she was scared of the world around her. Knowing this, Daniel Benac wanted to make something that starts in a very dark world but ends in the world of Gabrielle Vincent. Through the film you can see her world. Ernest and Celestine at the beginning don’t know each other, once they know each other they live together exactly like in the book, that’s how he wanted to do it. The first part of the film has nothing to do with the books, and the second part is completely linked to the books.
Aguilar: There is an unlikely friendship between the two main characters. Ernest and Celestine aren’t supposed to be friends. What do you think is the message the author and now your film are trying to convey?
Renner: There are several messages. One is that people shouldn’t have prejudices about others, this one of the biggest messages in the film. Also, respecting the will of some people in society, like if they want to read, or draw, or play music, they should be ale to do it as long as they want it. Drawing was also very important for me. I really wanted as a message for children to have the will to pick up a pen and start drawing, it was quite important for me.
Aguilar: What do you think is special about traditional animation since now most films are being made in 3D? Do you prefer one style of animation in particular?
Renner: For me 3D animation is also great, but in France we don’t have hug e budgets for our films. Ernest & Celestine cost 9.6 million Euros, so that’s not much compared to big budgets like Pixar or DreamWorks. The thing is though we don’t have big budgets, with drawing you can draw absolutely anything you want, you just have to find the right way to draw it. There is an example that I often give. In the script there is a scenes where Ernest and Celestine are chased by hundreds of cop rats running after them, this scene had the producer really worried. She was saying “That’s too many characters, you can’t draw that, it’s going to cost too much money” So I suggested to create these characters that are sort of more like a wave of a thousand mice, which is easier to draw and in a way even more impressive. In drawing you always have to find a trick so you can tell any story but you won’t have to pay too much to make it.
Aguilar: Could you talk a bit more about creating the world? You talked about using watercolors, it seems like it was very difficult to get the feeling of the books right onto the film
Renner: Gabrielle Vincent always drew like sketchy, very spontaneously. You can really see in her drawings that she was very spontaneous. We learned that when she was drawing she would work on a single drawing and if it was not correct, she would not correct it but she would always take another piece of paper and she started redoing it, and redoing it, and redoing it until she was satisfied.
For the animation I wanted to have the spontaneous feeling, so the animation, as you can see, it’s not really clean, the lines are dirty, they are open, because it is more like you are sketching an animation rather than making something very precise. We had a very long casting process of animators so we could find exactly the right person who could feel this kind of drawing because it is very particular.
Aguilar: Why do you think the audience connects with these characters?
Renner: Ernest and Celestine are a bear and a mouse, immediately when you hear of a bear and a mouse together you can’t avoid to think about an ogre eating a small child. I really love that you see them and instantly think about that, but at the same time the relationship is completely opposite to that “eating” relationship, it’s more like a friendship. I think it is even stronger than that.
Aguilar: The music plays a crucial role in giving the film an elegant and classic atmosphere. What attracted you to this particular style or composer?
Renner: It took us a long time to find the composer, we had a long casting process, and we met Vincent Courtois who is a cello artist and I really wanted someone who was really an artist rather than a big composer. Vincent Courtois likes to play with 4 or 5 people and I really liked his intimate way of working, and we tried to have this feeling in the music. Sometimes he said he was just with his friends and he was just improvising, and I really loved his way of working.
Aguilar: What’s next for you? Are there any projects you are working on at the moment?
Renner: Right now I’m working on a graphic novel and a short film that might be extended into a feature. I’m hoping for the production we gather together the artists of Ernest & Celestine as we really wish to work together again.
Ernest & Celestine will screen at this year's Sundance Film Festival as part of a new section titled 'Sundance Kids'
Carlos Aguilar: Where you familiar with the material before getting involved in the project, or how difficult did you find adapting Gabrielle Vincent’s storybooks into a film?
Benjamin Renner: I actually didn’t know the books when I was a kid. I got the book when the producer asked me to work on the film, so I didn’t have any nostalgia about the books. It was more about discovering everything. As I started working on the adaptation, I really loved the illustrations and the minimalism, and it was something very beautiful. I wanted to make animation that looked like an animated sketchbook. We wanted to be able to “feel the paper” like it was a book, so we used watercolor backgrounds and things like such.
Aguilar: Did you and your co-directors feel any pressure or great responsibility since these are characters loved by many people with an extensive fan base?
Renner: There was a lot of pressure of course. Gabrielle Vincent passed away so she couldn’t tell us what she thought of the film or anything, so we had to rely on what we thought she would have liked on the film. So surely I felt a lot of pressure.
Aguilar: Was the character design entirely inspired by the original books, or did you have other animated films as inspiration?
Renner: It was mainly based on the books. We had a wonderful designer who did all the characters, and of course he was always looking at the books. Sometimes there were some characters that like the dentist who didn’t exist in the book, so he had to create them.
Aguilar: For the voice work, where you involved in the process? Did you choose who was going to voice each character?
Renner: I was working with the man in charge of the casting. I helped directing the action telling them “Maybe you should do it more like this or like that”, and then I was also there for the recording sessions. We did it twice, once before we did the animation, and when we were done with the animation we recorded all the actors once again, so we could really be more precise on certain scenes.
Aguilar: What was the approach used by the screenwriter when creating this story out of so many different books that revolve around the characters?
Renner: He didn’t really try to take all the books and make it into one story. He wanted to make his own story. The thing is, he knew Gabrielle Vincent the author of the books, and he knew she was a very delicate person and vey sensitive. He knew her books were more like a refuge, like a little paradise. She was drawing a paradise because she was scared of the world around her. Knowing this, Daniel Benac wanted to make something that starts in a very dark world but ends in the world of Gabrielle Vincent. Through the film you can see her world. Ernest and Celestine at the beginning don’t know each other, once they know each other they live together exactly like in the book, that’s how he wanted to do it. The first part of the film has nothing to do with the books, and the second part is completely linked to the books.
Aguilar: There is an unlikely friendship between the two main characters. Ernest and Celestine aren’t supposed to be friends. What do you think is the message the author and now your film are trying to convey?
Renner: There are several messages. One is that people shouldn’t have prejudices about others, this one of the biggest messages in the film. Also, respecting the will of some people in society, like if they want to read, or draw, or play music, they should be ale to do it as long as they want it. Drawing was also very important for me. I really wanted as a message for children to have the will to pick up a pen and start drawing, it was quite important for me.
Aguilar: What do you think is special about traditional animation since now most films are being made in 3D? Do you prefer one style of animation in particular?
Renner: For me 3D animation is also great, but in France we don’t have hug e budgets for our films. Ernest & Celestine cost 9.6 million Euros, so that’s not much compared to big budgets like Pixar or DreamWorks. The thing is though we don’t have big budgets, with drawing you can draw absolutely anything you want, you just have to find the right way to draw it. There is an example that I often give. In the script there is a scenes where Ernest and Celestine are chased by hundreds of cop rats running after them, this scene had the producer really worried. She was saying “That’s too many characters, you can’t draw that, it’s going to cost too much money” So I suggested to create these characters that are sort of more like a wave of a thousand mice, which is easier to draw and in a way even more impressive. In drawing you always have to find a trick so you can tell any story but you won’t have to pay too much to make it.
Aguilar: Could you talk a bit more about creating the world? You talked about using watercolors, it seems like it was very difficult to get the feeling of the books right onto the film
Renner: Gabrielle Vincent always drew like sketchy, very spontaneously. You can really see in her drawings that she was very spontaneous. We learned that when she was drawing she would work on a single drawing and if it was not correct, she would not correct it but she would always take another piece of paper and she started redoing it, and redoing it, and redoing it until she was satisfied.
For the animation I wanted to have the spontaneous feeling, so the animation, as you can see, it’s not really clean, the lines are dirty, they are open, because it is more like you are sketching an animation rather than making something very precise. We had a very long casting process of animators so we could find exactly the right person who could feel this kind of drawing because it is very particular.
Aguilar: Why do you think the audience connects with these characters?
Renner: Ernest and Celestine are a bear and a mouse, immediately when you hear of a bear and a mouse together you can’t avoid to think about an ogre eating a small child. I really love that you see them and instantly think about that, but at the same time the relationship is completely opposite to that “eating” relationship, it’s more like a friendship. I think it is even stronger than that.
Aguilar: The music plays a crucial role in giving the film an elegant and classic atmosphere. What attracted you to this particular style or composer?
Renner: It took us a long time to find the composer, we had a long casting process, and we met Vincent Courtois who is a cello artist and I really wanted someone who was really an artist rather than a big composer. Vincent Courtois likes to play with 4 or 5 people and I really liked his intimate way of working, and we tried to have this feeling in the music. Sometimes he said he was just with his friends and he was just improvising, and I really loved his way of working.
Aguilar: What’s next for you? Are there any projects you are working on at the moment?
Renner: Right now I’m working on a graphic novel and a short film that might be extended into a feature. I’m hoping for the production we gather together the artists of Ernest & Celestine as we really wish to work together again.
- 1/9/2014
- by Carlos Aguilar
- Sydney's Buzz
Ernest & Celestine
Written by Daniel Pennac
Directed by Stéphane Aubier, Vincent Patar and Benjamin Renner
France, 2012
Based on Belgian author Gabrielle Vincent’s children’s books, Ernest & Celestine is an infectiously joyous piece of entertainment from the duo behind the manic A Town Called Panic, who direct here alongside Benjamin Renner. That earlier film’s stop-motion approach is abandoned for a more traditional hand-drawn animation style, presented in a beautiful, gentle watercolour palette. Ernest & Celestine is also not quite so anarchic in its humour, though one struggles to think of what film could match A Town Called Panic for that, but shares its predecessor’s wittiness regarding heated exchanges and heightened characters prone to snap decision-making.
In the film’s fictional universe, bears and mice live in parallel worlds. The bears live above ground, operating businesses and such, while the mice live below the surface in a metropolis within the sewers.
Written by Daniel Pennac
Directed by Stéphane Aubier, Vincent Patar and Benjamin Renner
France, 2012
Based on Belgian author Gabrielle Vincent’s children’s books, Ernest & Celestine is an infectiously joyous piece of entertainment from the duo behind the manic A Town Called Panic, who direct here alongside Benjamin Renner. That earlier film’s stop-motion approach is abandoned for a more traditional hand-drawn animation style, presented in a beautiful, gentle watercolour palette. Ernest & Celestine is also not quite so anarchic in its humour, though one struggles to think of what film could match A Town Called Panic for that, but shares its predecessor’s wittiness regarding heated exchanges and heightened characters prone to snap decision-making.
In the film’s fictional universe, bears and mice live in parallel worlds. The bears live above ground, operating businesses and such, while the mice live below the surface in a metropolis within the sewers.
- 12/9/2013
- by Josh Slater-Williams
- SoundOnSight
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