Mubi has unveiled next month’s streaming lineup, featuring recent releases such as Hirokazu Kore-eda’s Monster, Tynan DeLong’s Dad & Step-Dad, and Rachel Lambert’s Sometimes I Think About Dying. Additional highlights include Ryusuke Hamaguchi’s Passion, Abbas Kiarostami’s Certified Copy, Alex Thompson’s Saint Frances (ahead of the release of Ghostlight), as well as a spotlight on the Ross Brothers following Mubi’s streaming release of Gasoline Rainbow at the end of this month.
“Everybody’s raising this Rashomon thing, but I feel that it’s fundamentally different from Rashomon, because in Rashomon, each character, when they go back through the story again, they actually end up being a different character within the film, within the story, whatever specific story it is,” Hirokazu Kore-eda told us last fall regarding Monster. “Whereas with this, the people don’t change, but the monster who appears, appears in different places.
“Everybody’s raising this Rashomon thing, but I feel that it’s fundamentally different from Rashomon, because in Rashomon, each character, when they go back through the story again, they actually end up being a different character within the film, within the story, whatever specific story it is,” Hirokazu Kore-eda told us last fall regarding Monster. “Whereas with this, the people don’t change, but the monster who appears, appears in different places.
- 5/21/2024
- by Jordan Raup
- The Film Stage
Few sacred cows emerge unscathed from director Jessica Hausner’s Club Zero. No matter where audiences sit on the political spectrum, they’re liable find something discomfiting, if not enraging, in the film. Hausner and co-writer Géraldine Bajard can be applauded for the inclusivity of their derision, which is hostile to all forms of complacency. Then again, maybe it’s too easy to toss people and ideas so indiscriminately into the vat of irony while defending nothing, potentially leaving the viewer at a tiresome, cynical impasse.
This caustic satire follows a group of students at a private high school who sign up for a nutrition course taught by Ms. Novak (Mia Wasikowska), who’s hired at the recommendation of the parent board. Ms. Novak teaches—or rather, preaches—the doctrine of “conscious eating.” Each student has their reasons for enrolling: Helen (Gwen Currant) to protect the environment by cutting down on consumption,...
This caustic satire follows a group of students at a private high school who sign up for a nutrition course taught by Ms. Novak (Mia Wasikowska), who’s hired at the recommendation of the parent board. Ms. Novak teaches—or rather, preaches—the doctrine of “conscious eating.” Each student has their reasons for enrolling: Helen (Gwen Currant) to protect the environment by cutting down on consumption,...
- 3/9/2024
- by William Repass
- Slant Magazine
Swimming Home is an adaptation of Deborah Levy’s 2011 novel, written and directed by debut UK flmmaker Justin Anderson.
The UK-Dutch co-production premiered in the Tiger competition of this year’s International Film Festival Rotterdam (IFFR).
The film centres around a war reporter played by Mackenzie Davis, on a family holiday with her husband (Christopher Abbott), a poet, and their teenage daughter. Returning home to their villa with a friend (Nadine Labaki) they find a naked stranger, Kitti (Ariane Labed) floating in the pool. Invited to stay, Kitti’s presence comes to emphasise the tensions within the family.
Anderson studied...
The UK-Dutch co-production premiered in the Tiger competition of this year’s International Film Festival Rotterdam (IFFR).
The film centres around a war reporter played by Mackenzie Davis, on a family holiday with her husband (Christopher Abbott), a poet, and their teenage daughter. Returning home to their villa with a friend (Nadine Labaki) they find a naked stranger, Kitti (Ariane Labed) floating in the pool. Invited to stay, Kitti’s presence comes to emphasise the tensions within the family.
Anderson studied...
- 2/2/2024
- ScreenDaily
Swimming Home is an adaptation of Deborah Levy’s 2011 novel, written and directed by debut UK flmmaker Justin Anderson.
The UK-Dutch co-production premiered in the Tiger competition of this year’s International Film Festival Rotterdam (IFFR).
The film centres around a war reporter played by Mackenzie Davis, on a family holiday with her husband (Christopher Abbott), a poet, and their teenage daughter. Returning home to their villa with a friend (Nadine Labaki) they find a naked stranger, Kitti (Ariane Labed) floating in the pool. Invited to stay, Kitti’s presence comes to emphasise the tensions within the family.
Anderson studied...
The UK-Dutch co-production premiered in the Tiger competition of this year’s International Film Festival Rotterdam (IFFR).
The film centres around a war reporter played by Mackenzie Davis, on a family holiday with her husband (Christopher Abbott), a poet, and their teenage daughter. Returning home to their villa with a friend (Nadine Labaki) they find a naked stranger, Kitti (Ariane Labed) floating in the pool. Invited to stay, Kitti’s presence comes to emphasise the tensions within the family.
Anderson studied...
- 2/2/2024
- ScreenDaily
In the space of just two movies, Jane Schoenbrun has established a completely unique aesthetic; from the opening credits alone, a riot of black light and neon pastels, it’s obvious that I Saw the TV Glow comes from the same mind that created the trippy 2021 cult hit We’re All Going to the World’s Fair. Anyone puzzled by the latter is advised to stay clear, since the follow-up is more vertiginously dizzying and twice as impressionistic, causing lots of head-scratching at its Sundance premiere. For those ready and willing to embrace its commitment to mood over logic, I Saw the TV Glow is a must-see, pairing the otherworldly ambience of Kyle Edward Ball’s Skinamarink with the morbid surrealism of Charlie Kaufman’s Synecdoche, New York.
The film’s loose storyline involves a seventh-grader named Owen, a pupil at a school that appears to be...
The film’s loose storyline involves a seventh-grader named Owen, a pupil at a school that appears to be...
- 1/19/2024
- by Damon Wise
- Deadline Film + TV
FrightFest, the UK’s No.1 horror fantasy event, returns to the renowned Glasgow Film Festival for its 19th year, from Thursday 7th March to Saturday 9th March 2024. This year’s diverse and creative line-up, once again housed at the iconic Glasgow Film Theatre, showcases the latest new releases from the horror, chiller and fantastic realms by auteurs from all over the globe who are not only transforming the genre in exciting ways but also celebrating its consistent appeal at the box office. This year we will be presenting twelve films from eight countries, spanning three continents, including two world and eight UK premieres.
FrightFest kicks off in thrilling style on Thurs 7 March with a special UK premiere screening of twisted terror tale You’LL Never Find Me, a bold directorial debut from Australian filmmaking duo Josiah Allen & Indianna Bell and featuring outstanding central performances from Jordan Cowan & Brendan Rock.
FrightFest’s...
FrightFest kicks off in thrilling style on Thurs 7 March with a special UK premiere screening of twisted terror tale You’LL Never Find Me, a bold directorial debut from Australian filmmaking duo Josiah Allen & Indianna Bell and featuring outstanding central performances from Jordan Cowan & Brendan Rock.
FrightFest’s...
- 1/19/2024
- by Phil Wheat
- Nerdly
Following The Film Stage’s collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
It’s been a great year to be a strange little guy. We’ve rolled on from Everything Everywhere All at Once sweeping the Oscars to the auspicious release of Yorgos Lanthimos’ sexy baby drama Poor Things. Our culture’s ever-increasing appetite for horror fueled hype for blockbusters about killer robot girls and homicidal animatronics. Genres were blended and transcended on and off the festival circuit, as major distributors embraced weirdness in films like Bottoms, May December, and the aforementioned Poor Things.
This has also been a year of extremes. In January Skinamarink, a $15,000 indie horror, made $2.1 million at the box office. Every favorite for Best Picture is at least 100 minutes long. Barbenheimer… happened. New heights of camp were achieved on larger scales than ever before. Casting...
It’s been a great year to be a strange little guy. We’ve rolled on from Everything Everywhere All at Once sweeping the Oscars to the auspicious release of Yorgos Lanthimos’ sexy baby drama Poor Things. Our culture’s ever-increasing appetite for horror fueled hype for blockbusters about killer robot girls and homicidal animatronics. Genres were blended and transcended on and off the festival circuit, as major distributors embraced weirdness in films like Bottoms, May December, and the aforementioned Poor Things.
This has also been a year of extremes. In January Skinamarink, a $15,000 indie horror, made $2.1 million at the box office. Every favorite for Best Picture is at least 100 minutes long. Barbenheimer… happened. New heights of camp were achieved on larger scales than ever before. Casting...
- 12/31/2023
- by Lena Wilson
- The Film Stage
Director Peter Strickland, of The Duke Of Burgundy and Flux Gourmet fame, says it’s “very tough finding money” for his next film.
British filmmaker Peter Strickland has spent well over a decade captivating audiences with his unsettling and one-of-a-kind films, including Berberian Sound Studio (2012), The Duke Of Burgundy (2014) and In Fabric (2018).
On X (formerly Twitter), however, the writer-director revealed that he’s found it difficult to secure financing for his next project.
“Unlikely we’ll be shooting a new film next year,” Strickland wrote. “Very tough finding money, but we’re trying our best.”
Strickland’s most recent film was Flux Gourmet, a blackly comic drama about gastronomy and performance art told with a distinctly Cronenbergian edge. Starring Asa Butterfield and Gwendoline Christie, it received almost universal praise when it emerged in film festivals last year, which makes Strickland’s difficulty in finding money for his next project even more surprising.
British filmmaker Peter Strickland has spent well over a decade captivating audiences with his unsettling and one-of-a-kind films, including Berberian Sound Studio (2012), The Duke Of Burgundy (2014) and In Fabric (2018).
On X (formerly Twitter), however, the writer-director revealed that he’s found it difficult to secure financing for his next project.
“Unlikely we’ll be shooting a new film next year,” Strickland wrote. “Very tough finding money, but we’re trying our best.”
Strickland’s most recent film was Flux Gourmet, a blackly comic drama about gastronomy and performance art told with a distinctly Cronenbergian edge. Starring Asa Butterfield and Gwendoline Christie, it received almost universal praise when it emerged in film festivals last year, which makes Strickland’s difficulty in finding money for his next project even more surprising.
- 12/4/2023
- by Ryan Lambie
- Film Stories
There are a lot of niche horror genres, from Lovecraft riffs and zombie movies to body horror. But maybe no horror genre is more niche and simultaneously more historically important than the giallo films that took Italy by storm in the 1970s.
Not exactly a defined film movement, giallo originated in the world of literature. In Italy, a giallo novel is any crime or mystery fiction story, with the name (the word means “yellow” in Italian) coming from the 1929 series of pulp novels “Il Giallo Mondadori.” Before the 1960s, a giallo film was a literal adaptation of a giallo novel, but the term soon shifted to apply to a type of film from auteurs like Mario Bava, Dario Argento, and Lucio Fulci that took the crime and mystery stories and applied a new, stylish, and violent bent to them.
There are no set rules for what makes a movie a giallo,...
Not exactly a defined film movement, giallo originated in the world of literature. In Italy, a giallo novel is any crime or mystery fiction story, with the name (the word means “yellow” in Italian) coming from the 1929 series of pulp novels “Il Giallo Mondadori.” Before the 1960s, a giallo film was a literal adaptation of a giallo novel, but the term soon shifted to apply to a type of film from auteurs like Mario Bava, Dario Argento, and Lucio Fulci that took the crime and mystery stories and applied a new, stylish, and violent bent to them.
There are no set rules for what makes a movie a giallo,...
- 10/10/2023
- by Wilson Chapman
- Indiewire
Jim Caviezel in Sound Of Freedom. Sound designer Nathan Ruyle says: It’s been a really fascinating experience being kind of inside of this whole wild ride'' Photo: Angel Studios Although the first thing most people probably think about when considering modern films is the look, sound design is also vital. It can be used for simple atmospherics like footsteps echoing up a corridor right through to driving the plot, as the muffled conversation in Francis Ford Coppola’s film of the same name does. In recent years, sound designers have even become characters in films, most notably in Peter Strickland’s work, with Flux Gourmet and Berberian Sound Studio, and in Spanish film Out Of Sync.
I catch up with Nathan Ruyle in the week that Oppenheimer and Barbie were released. He has made a career out of sound design, working on more than 70 films along with TV shows...
I catch up with Nathan Ruyle in the week that Oppenheimer and Barbie were released. He has made a career out of sound design, working on more than 70 films along with TV shows...
- 8/12/2023
- by Amber Wilkinson
- eyeforfilm.co.uk
The mystical and the industrial cross paths in this haunting debut from India, screening at this year’s Locarno Film Festival in the event’s parallel competition for first and second movies. It begins in an almost documentary style, showing the harsh, eerie beauty of Jharia, a once-proud mining community that’s now an apocalyptic ruin of a city, where toxic waste is dumped 24/7 and noxious fires burn just as endlessly. Midway through, however, Lubdhak Chatterjee’s film begins to change direction, as its passive hero becomes attuned to the natural mysteries lurking in the adjacent woods.
The set-up is a clear-cut juxtaposition of ancient and modern, as sound artist Shiva (Sagnik Mukherjee) arrives in Jharia with a boom mic and recording apparatus to find material for use in an art installation back home in Kolkata. At first these are simply ambient sounds, like kids playing football or, more ominously,...
The set-up is a clear-cut juxtaposition of ancient and modern, as sound artist Shiva (Sagnik Mukherjee) arrives in Jharia with a boom mic and recording apparatus to find material for use in an art installation back home in Kolkata. At first these are simply ambient sounds, like kids playing football or, more ominously,...
- 8/9/2023
- by Damon Wise
- Deadline Film + TV
With echoes of Catherine Breillat, Lucille Hadzhihalillovic, and Peter Strickland, “Piaffe” rides a deep tail of sexual awakening.
The feature directorial debut of Berlin-based visual artist Ann Oren, “Piaffe” follows Eva (Simone Bucio), an introverted and unqualified woman who grows a horse’s tail while foleying sound for a commercial about an equine-inspired drug.
Per the synopsis, as Eva acclimates to the new job, her obsession with creating the perfect horse sounds grows into something more tangible. Eva harnesses this new physicality, becoming more confident and empowered, and lures an unassuming botanist into an intriguing game of submission.
“Piaffe” centers on Eva’s sexual awakening through a dominant-submissive relationship and through animal-centric affect. The film is shot on 16mm and originally debuted at the 2022 Locarno International Festival.
Sebastian Rudolph and Simon Jaikiriuma Paetau also star.
“Piaffe” is co-written by director Oren and Thais Guisaola, with Kristof Gerega, Sophie Ahrens, and Fabien Altenried producing.
The feature directorial debut of Berlin-based visual artist Ann Oren, “Piaffe” follows Eva (Simone Bucio), an introverted and unqualified woman who grows a horse’s tail while foleying sound for a commercial about an equine-inspired drug.
Per the synopsis, as Eva acclimates to the new job, her obsession with creating the perfect horse sounds grows into something more tangible. Eva harnesses this new physicality, becoming more confident and empowered, and lures an unassuming botanist into an intriguing game of submission.
“Piaffe” centers on Eva’s sexual awakening through a dominant-submissive relationship and through animal-centric affect. The film is shot on 16mm and originally debuted at the 2022 Locarno International Festival.
Sebastian Rudolph and Simon Jaikiriuma Paetau also star.
“Piaffe” is co-written by director Oren and Thais Guisaola, with Kristof Gerega, Sophie Ahrens, and Fabien Altenried producing.
- 8/3/2023
- by Samantha Bergeson
- Indiewire
Would you agree if I said that cinema, as a medium, is the strongest one that an artist can use for their expression? Because how else would you make sense out of the existence of something like director Jack James’ Wild Bones? I hope you are here after experiencing this fever dream of a movie. You should understand what I am talking about. There can be two ways Wild Bones can be described. One of those is that the movie is a manifestation of someone’s personal trauma. That someone could be the director himself, or maybe someone close to him. The other would be the director drawing inspiration from the worlds of auteurs like David Lynch or Peter Strickland and presenting a grim tale of his own in an intentionally erratic, non-linear manner.
As you would expect from movies of this kind, the narrative takes a backseat here. There...
As you would expect from movies of this kind, the narrative takes a backseat here. There...
- 7/20/2023
- by Rohitavra Majumdar
- Film Fugitives
The thing Aden likes about acting, he tells someone who cares enough to ask, is “how organized it is.” You know where you stand, quite literally, because someone tells you; you’re given things to say, and told how to say them. Order and certainty aren’t typically seen as benefits of the thespian calling, and even Aden doesn’t sound entirely convinced of his own words. But then Aden — played, in a performance of brilliant, diamantine versatility, by Nabhaan Rizwan — is never entirely convinced of himself, period, when he hasn’t a script to follow or a character to inhabit. A simultaneously playful and savagely pointed satire from first-time feature director Naqqash Khalid, “In Camera” traces how its young British-Asian protagonist’s sense of identity is progressively diminished by the cynicism and tokenism of the industry he’s trying to crack — though as it turns out, when you lose yourself entirely,...
- 7/3/2023
- by Guy Lodge
- Variety Film + TV
Film includes interviews with John Waters, Ben Wheatley, Mary Harron.
BFI Distribution has acquired UK-Ireland rights to Scala!!!, a feature documentary about the legendary London cinema which ran from 1978 to 1993, from production company Fifty Foot Woman.
The film will make its world premiere in the ’Documents and Documentaries’ section of the 37th edition of Il Cinema Ritrovato in Bologna in Italy this Sunday, June 25.
The full title of the film is Scala!!! Or, the incredibly strange rise and fall of the world’s wildest cinema and how it influenced a mixed-up generation of weirdos and misfits. Directed by Jane Giles...
BFI Distribution has acquired UK-Ireland rights to Scala!!!, a feature documentary about the legendary London cinema which ran from 1978 to 1993, from production company Fifty Foot Woman.
The film will make its world premiere in the ’Documents and Documentaries’ section of the 37th edition of Il Cinema Ritrovato in Bologna in Italy this Sunday, June 25.
The full title of the film is Scala!!! Or, the incredibly strange rise and fall of the world’s wildest cinema and how it influenced a mixed-up generation of weirdos and misfits. Directed by Jane Giles...
- 6/21/2023
- by Ben Dalton
- ScreenDaily
‘Scala!!!’, documentary about iconic London cinema, scores UK-Ireland theatrical release (exclusive)
Film includes interviews with John Waters, Ben Wheatley, Mary Harron.
BFI Distribution has acquired UK-Ireland rights to Scala!!!, a feature documentary about the legendary London cinema which ran from 1978 to 1993.
The film has its world premiere in the Documents and Documentaries section of the 37th edition of Il Cinema Ritrovato in Bologna, Italy this Sunday, June 25. BFI Distribution acquired the film from production company Fifty Foot Woman.
The full title of the film is Scala!!! Or, the incredibly strange rise and fall of the world’s wildest cinema and how it influenced a mixed-up generation of weirdos and misfits. Directed...
BFI Distribution has acquired UK-Ireland rights to Scala!!!, a feature documentary about the legendary London cinema which ran from 1978 to 1993.
The film has its world premiere in the Documents and Documentaries section of the 37th edition of Il Cinema Ritrovato in Bologna, Italy this Sunday, June 25. BFI Distribution acquired the film from production company Fifty Foot Woman.
The full title of the film is Scala!!! Or, the incredibly strange rise and fall of the world’s wildest cinema and how it influenced a mixed-up generation of weirdos and misfits. Directed...
- 6/21/2023
- by Ben Dalton
- ScreenDaily
Taylor is both hammy and subtle as a woman on the verge of a breakdown in this preposterous but watchable 1974 drama that features an extraordinary cameo from Andy Warhol
It’s peak 70s Liz Taylor in this arrestingly bizarre movie which is being released in the UK for the first time; it was directed by Italian film-maker Giuseppe Patroni Griffi in 1974, which he co-adapted from the 1970 novella by Muriel Spark and was issued under the title Identikit in Italy. With her big sunglasses and permanently dishevelled jet-black hair, Taylor gives an intense and more-than-slightly alarming performance in a preposterous, slightly dated yet very watchable psycho-existential mystery, a cousin to the era’s paranoid thrillers. It was shot by Vittorio Storaro, who repeatedly directs light sources into the camera so that the figures often move like shadows behind a disconcerting glow, which is part of the film’s distinctive puzzle.
Taylor plays Lise,...
It’s peak 70s Liz Taylor in this arrestingly bizarre movie which is being released in the UK for the first time; it was directed by Italian film-maker Giuseppe Patroni Griffi in 1974, which he co-adapted from the 1970 novella by Muriel Spark and was issued under the title Identikit in Italy. With her big sunglasses and permanently dishevelled jet-black hair, Taylor gives an intense and more-than-slightly alarming performance in a preposterous, slightly dated yet very watchable psycho-existential mystery, a cousin to the era’s paranoid thrillers. It was shot by Vittorio Storaro, who repeatedly directs light sources into the camera so that the figures often move like shadows behind a disconcerting glow, which is part of the film’s distinctive puzzle.
Taylor plays Lise,...
- 6/21/2023
- by Peter Bradshaw
- The Guardian - Film News
Though based on Friedrich Dürrenmatt’s 1958 crime novella The Pledge (which was also the source for Sean Penn’s 2001 film of the same name), György Fehér’s Twilight plays more like an existential horror film than a noir or police procedural. Indeed, the ins and outs of the investigation into the mysterious murder of a child are of little concern to Fehér, who crafts a mood piece that’s keyed to the aura of dread and despair that grips a community in the wake of this and other similar murders.
Set in a small, remote Hungarian town surrounded by vast hills and dense thickets of trees, Twilight exists in a sort of metaphorical purgatory. Throughout, the film’s spare black-and-white images, deliberate pacing, and glacial camera movements, coupled with the near-constant rumbling ambiance that dominates the soundtrack, brilliantly conjure how an unseen but ubiquitous evil haunts the townsfolk. Long tracking...
Set in a small, remote Hungarian town surrounded by vast hills and dense thickets of trees, Twilight exists in a sort of metaphorical purgatory. Throughout, the film’s spare black-and-white images, deliberate pacing, and glacial camera movements, coupled with the near-constant rumbling ambiance that dominates the soundtrack, brilliantly conjure how an unseen but ubiquitous evil haunts the townsfolk. Long tracking...
- 6/20/2023
- by Derek Smith
- Slant Magazine
Grimmfest, Manchester UK’s International Festival of Fantastic Film, joins Méliès International Festivals Federation.
Regular attendees that look forward to catching up with the annual selection of short film premieres at Grimmfest, will be pleased to hear that this year, Grimmfest will be hosting three short film programmes across the festival period (6th-8th October 2023), in celebration of their new membership of the Méliès International Festivals Federation.
The Federation, recently held their annual general assembly at Cannes film festival, and the 26 member festivals voted for Grimmfest to join, and thus become the only English festival of fantastic film in the Federation.
Each year member festivals vote for their best ‘Fantastic’ feature film and short film, with an award for each, presented at Sitges. Previous winners have included Alex Garland’s Men, Prano Baily-Bond’s Censor, Anders Thomas Jensen’s Riders Of Justice, Peter Strickland’s In Fabric, Lars Von Trier...
Regular attendees that look forward to catching up with the annual selection of short film premieres at Grimmfest, will be pleased to hear that this year, Grimmfest will be hosting three short film programmes across the festival period (6th-8th October 2023), in celebration of their new membership of the Méliès International Festivals Federation.
The Federation, recently held their annual general assembly at Cannes film festival, and the 26 member festivals voted for Grimmfest to join, and thus become the only English festival of fantastic film in the Federation.
Each year member festivals vote for their best ‘Fantastic’ feature film and short film, with an award for each, presented at Sitges. Previous winners have included Alex Garland’s Men, Prano Baily-Bond’s Censor, Anders Thomas Jensen’s Riders Of Justice, Peter Strickland’s In Fabric, Lars Von Trier...
- 6/16/2023
- by Peter 'Witchfinder' Hopkins
- Horror Asylum
Exclusive: Longtime IFC Films and Cinetic Media PR colleagues Laura Sok and Kate McEdwards are launching new PR and strategy firm, Track Shot.
Track Shot will be based in New York City and work across independent, foreign and genre films as well as distribution strategy. The duo brings more than two decades in the publicity and communications field as well as a deep knowledge of the distribution landscape. Sok and McEdwards have built and led hundreds of film campaigns during their careers working in-house and alongside major distributors on the agency side. Previously, they led PR efforts for IFC Films, IFC Midnight, Sundance Selects, IFC Films Unlimited (streaming service) and most recently Shudder and Rlje.
Their final campaign for IFC Films was Matt Johnson’s chart-topping BlackBerry. This year they also launched Kyle Edward Ball’s breakthrough feature Skinamarink for Shudder/IFC Films.
Among their many successful campaigns at IFC...
Track Shot will be based in New York City and work across independent, foreign and genre films as well as distribution strategy. The duo brings more than two decades in the publicity and communications field as well as a deep knowledge of the distribution landscape. Sok and McEdwards have built and led hundreds of film campaigns during their careers working in-house and alongside major distributors on the agency side. Previously, they led PR efforts for IFC Films, IFC Midnight, Sundance Selects, IFC Films Unlimited (streaming service) and most recently Shudder and Rlje.
Their final campaign for IFC Films was Matt Johnson’s chart-topping BlackBerry. This year they also launched Kyle Edward Ball’s breakthrough feature Skinamarink for Shudder/IFC Films.
Among their many successful campaigns at IFC...
- 6/13/2023
- by Anthony D'Alessandro
- Deadline Film + TV
If nothing else, every new Jessica Hausner film makes an increasingly undeniable case that no other narrative director is more skeptical of — or even hostile towards — the social institutions into which people entrust their faith. Her first and still only great movie confronted that subject head-on by telling the story of a wheelchair-bound woman whose multiple sclerosis appears to be cured by a visit to the Catholic sanctuary of Lourdes. Alas, both of the contemporary-set films she’s made since focus on more distinctly modern sources of faith, and both of those films are undone by her distinctly modern failure to distinguish good faith from bad.
In 2019’s “Little Joe,” Hausner questioned the world’s growing reliance on pharmaceuticals with an “Invasion of the Body Snatchers” riff that likened antidepressants to a dehumanizing alien force. With the equally glib but even less explicable “Club Zero,” she returns with a Pied...
In 2019’s “Little Joe,” Hausner questioned the world’s growing reliance on pharmaceuticals with an “Invasion of the Body Snatchers” riff that likened antidepressants to a dehumanizing alien force. With the equally glib but even less explicable “Club Zero,” she returns with a Pied...
- 5/22/2023
- by David Ehrlich
- Indiewire
The Chattanooga Film Festival Conjures First Wave: "Hot on the haunted heels of their tenth-anniversary announcement, organizers of The Chattanooga Film Festival (Cff) have once assembled a first wave of strange and fantastic cinema for their hybrid edition this year.
First up is the North American premiere of a film primed to knock the socks off Cff’s longtime fans - filmmaker Jonas Trukanas‘ perfectly executed Lithuanian slasher We Might Hurt Each Other. Trukanas' briskly paced hoot of a horror film is one of this year’s true standouts and another title presented by Screambox. We Might Hurt Each Other has all the makings of a deeply satisfying cult classic.
Closing out the festival for those attending in person this year is Trim Season, marking the return of filmmaker Ariel Vida, who first attended Cff in 2019 with a secret screening of Vide Noir. Her latest combines a terrific ensemble cast,...
First up is the North American premiere of a film primed to knock the socks off Cff’s longtime fans - filmmaker Jonas Trukanas‘ perfectly executed Lithuanian slasher We Might Hurt Each Other. Trukanas' briskly paced hoot of a horror film is one of this year’s true standouts and another title presented by Screambox. We Might Hurt Each Other has all the makings of a deeply satisfying cult classic.
Closing out the festival for those attending in person this year is Trim Season, marking the return of filmmaker Ariel Vida, who first attended Cff in 2019 with a secret screening of Vide Noir. Her latest combines a terrific ensemble cast,...
- 5/9/2023
- by Jonathan James
- DailyDead
The future of the Curzon Mayfair looks uncertain with the landlord refusing to renew the Curzon’s lease, which ends in 2024.
Tilda Swinton and Steven Spielberg are among the industry voices throwing their weight behind a campaign to prevent iconic London cinema Curzon Mayfair from changing hands.
It comes as UK exhibitor-distributor Curzon, owned by the US-based Cohen Media Group, has warned the building’s landlord it is ready to go to court to remain on the site for years to come.
The landlord is refusing to renew Curzon’s lease on the Grade II listed 37–38 Curzon Street building, which ends in 2024.
The landlord,...
Tilda Swinton and Steven Spielberg are among the industry voices throwing their weight behind a campaign to prevent iconic London cinema Curzon Mayfair from changing hands.
It comes as UK exhibitor-distributor Curzon, owned by the US-based Cohen Media Group, has warned the building’s landlord it is ready to go to court to remain on the site for years to come.
The landlord is refusing to renew Curzon’s lease on the Grade II listed 37–38 Curzon Street building, which ends in 2024.
The landlord,...
- 4/24/2023
- by Mona Tabbara
- ScreenDaily
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Country Gold (Mickey Reece)
The cost of fame sits in the living room wondering aloud whether dad will be home for Christmas. Why these two young boys’ voices have been deepened to sound like they’re 40-year-old drunks slurring through a bender is beyond me (an assumption of it being a dream or game is squashed once mom enters without the effect being called out), but their words have meaning. Troyal’s (Mickey Reece channeling Garth Brooks) star has risen to unimaginable heights and he’s embraced it to the point where his “good ol’ boy” demeanor can’t quite hide the growing ego beneath a cowboy hat. While Jamie (Leah N.H. Philpott) tries toeing the line of admiring his accomplishments and...
Country Gold (Mickey Reece)
The cost of fame sits in the living room wondering aloud whether dad will be home for Christmas. Why these two young boys’ voices have been deepened to sound like they’re 40-year-old drunks slurring through a bender is beyond me (an assumption of it being a dream or game is squashed once mom enters without the effect being called out), but their words have meaning. Troyal’s (Mickey Reece channeling Garth Brooks) star has risen to unimaginable heights and he’s embraced it to the point where his “good ol’ boy” demeanor can’t quite hide the growing ego beneath a cowboy hat. While Jamie (Leah N.H. Philpott) tries toeing the line of admiring his accomplishments and...
- 4/14/2023
- by Jordan Raup
- The Film Stage
The trope of cursed objects is a unique corner of horror. Not to be confused with killer dolls and mannequins (that's a whole other niche), we're talking about your ordinary household objects come to life to wreck people's lives (and sometimes murder them) in the most bonkers, off-the-wall, and outrageous ways. Perhaps a comet or asteroid crashes into earth, causing a strange transference of energy, or an experiment goes horribly wrong. Sometimes, it's a phenomenon with no logical explanation, so it's even more difficult to defeat.
Cursed and killer objects in the movies ebb and flow with time. The 1970s and '80s were a particularly hot time for the subgenre, featuring a slew of deadly inanimate objects like a killer bed (more on that later), a killer car ("Christine"), a killer elevator ("The Lift"), and a killer lamp ("Amityville 4: The Evil Escapes"). Cursed objects were less prevalent in the '90s,...
Cursed and killer objects in the movies ebb and flow with time. The 1970s and '80s were a particularly hot time for the subgenre, featuring a slew of deadly inanimate objects like a killer bed (more on that later), a killer car ("Christine"), a killer elevator ("The Lift"), and a killer lamp ("Amityville 4: The Evil Escapes"). Cursed objects were less prevalent in the '90s,...
- 2/15/2023
- by Bee Delores
- Slash Film
Peter Strickland's Blank Narcissus (Passion of the Swamp) is now showing exclusively on Mubi in most countries starting December 7, 2022, in the series Brief Encounters.The DVD commentary is already becoming an antiquated supplement to home entertainment with the dominance of streaming, but during its brief few decades, the revelations and confessions from directors along with assorted colleagues unlocked a hitherto closed world for the majority of viewers. The director’s commentary not only functioned as a nuts-and-bolts technical and thematic dissection of what was on the screen, but more revealingly, it veered into the confessional. A lot of commentaries, especially when it comes to reissues/restorations, are recorded many years after filming, and directors no longer have to be in promotion mode, which usually involves pretending everyone got along and everything went perfectly. With the safety buffer of a few decades, mistakes that were made in any given film...
- 12/6/2022
- MUBI
The feature film directorial debut by Kyle Edward Ball, Skinamarink has been one of the most buzzed-about horror movies since its premiere at Fantasia Fest, and if you haven't seen it yet, your wait won't be long, as IFC Midnight will release the film in theaters on January 13th ahead of its streaming release on Shudder in 2023:
Press Release: New York – December 5, 2022 – Shudder, AMC Networks’ premium streaming service for horror, thrillers and the supernatural, and IFC Midnight announced today a theatrical run for the highly-anticipated paranormal thriller Skinamarink beginning Friday, January 13, 2023 ahead of the film’s streaming debut on Shudder. Written, directed and produced by Kyle Edward Ball, making his directorial debut, the film had its premiere at Fantasia Fest and has since taken social media by storm creating an unprecedented viral sensation for an independently produced horror film.
Said Ball: “I’m thrilled that after months of keeping it secret,...
Press Release: New York – December 5, 2022 – Shudder, AMC Networks’ premium streaming service for horror, thrillers and the supernatural, and IFC Midnight announced today a theatrical run for the highly-anticipated paranormal thriller Skinamarink beginning Friday, January 13, 2023 ahead of the film’s streaming debut on Shudder. Written, directed and produced by Kyle Edward Ball, making his directorial debut, the film had its premiere at Fantasia Fest and has since taken social media by storm creating an unprecedented viral sensation for an independently produced horror film.
Said Ball: “I’m thrilled that after months of keeping it secret,...
- 12/5/2022
- by Derek Anderson
- DailyDead
Mubi has announced its lineup of streaming offerings for next month, including Park Chan-wook’s Decision to Leave, alongside his 1999 short film Judgement, as well as Bi Gan’s new short A Shory Story and his second feature Long Day’s Journey Into Night, and Peter Strickland’s new short.
Additional highlights include new episodes of Lars von Trier’s The Kingdom Exodus, Denis Côté’s That Kind of Summer (which we caught at Berlinale earlier this year), Nicolas Winding Refn’s Pusher trilogy ahead of his imminent new project, and an Abel Ferrara double bill to close out 2022.
Check out the lineup below and get 30 days free here.
December 1 – That Kind of Summer, directed by Denis Côté | Luminaries
December 2 – The Cat’s Meow, directed by Peter Bogdanovich
December 3 – La chinoise, directed by Jean-Luc Godard | For Ever Godard
December 4 – The Kingdom Exodus: The Congress Dances, directed by Lars von Trier | The Kingdom Exodus
December 5 – Judgement,...
Additional highlights include new episodes of Lars von Trier’s The Kingdom Exodus, Denis Côté’s That Kind of Summer (which we caught at Berlinale earlier this year), Nicolas Winding Refn’s Pusher trilogy ahead of his imminent new project, and an Abel Ferrara double bill to close out 2022.
Check out the lineup below and get 30 days free here.
December 1 – That Kind of Summer, directed by Denis Côté | Luminaries
December 2 – The Cat’s Meow, directed by Peter Bogdanovich
December 3 – La chinoise, directed by Jean-Luc Godard | For Ever Godard
December 4 – The Kingdom Exodus: The Congress Dances, directed by Lars von Trier | The Kingdom Exodus
December 5 – Judgement,...
- 11/29/2022
- by Jordan Raup
- The Film Stage
Charlotte Wells’ “Aftersun” has picked up three craft prizes from the British Independent Film Awards.
The Paul Mescal-starring father-daughter drama received 16 nominations this year, and won best cinematography for Gregory Oke; best editing for Blair McClendon; and best music supervision — a new category this year — for Lucy Bright.
Best casting went to ten-time BIFA nominee Shaheen Baig for “Blue Jean.” The 1980s-set film, which follows a young schoolteacher forced to lead a double life, has been nominated for 13 BIFAs in total, including best British independent film.
Elsewhere, with nine nominations this year, including best British independent film, Oliver Hermanus’ “Living” received best production design for Helen Scott.
Sebastián Lelio’s 19th century-set thriller “The Wonder,” which received 12 nominations, won best original music for Matthew Herbert.
Jenny Beavan also won best costume design for “Mrs. Harris Goes to Paris,” which stars Lesley Manville as a woman following her dream to own a couture gown.
The Paul Mescal-starring father-daughter drama received 16 nominations this year, and won best cinematography for Gregory Oke; best editing for Blair McClendon; and best music supervision — a new category this year — for Lucy Bright.
Best casting went to ten-time BIFA nominee Shaheen Baig for “Blue Jean.” The 1980s-set film, which follows a young schoolteacher forced to lead a double life, has been nominated for 13 BIFAs in total, including best British independent film.
Elsewhere, with nine nominations this year, including best British independent film, Oliver Hermanus’ “Living” received best production design for Helen Scott.
Sebastián Lelio’s 19th century-set thriller “The Wonder,” which received 12 nominations, won best original music for Matthew Herbert.
Jenny Beavan also won best costume design for “Mrs. Harris Goes to Paris,” which stars Lesley Manville as a woman following her dream to own a couture gown.
- 11/18/2022
- by Manori Ravindran
- Variety Film + TV
Scottish filmmaker Charlotte Wells’s debut feature Aftersun has bagged three awards in the British Independent Film Awards (BIFA) craft categories, the year’s most wins.
Aftersun’s wins include Best Cinematography, Best Editing, and Best Music Supervision. The latter is a new category introduced this year.
The Cannes breakout also leads overall nominations for this year’s British Independent Film Awards with a sweeping 16 nods, including Best Director and Best film.
The Best Casting award was picked up by Shaheen Baig for Blue Jean. The soulful social drama about homophobia in Thatcherite Britain has 13 nominations.
Elsewhere, Oliver Hermanus’ Living, a Kazuo Ishiguro-penned update of Kurosawa’s Ikiru, was awarded Best Production Design for Helen Scott. Sebastián Lelio’s The Wonder picked up the Best Original Music gong, Best Costume Design went to Mrs. Harris Goes to Paris, Best Effects for Alex Garland’s Men, and Best Make-Up & Hair Design for Medusa Deluxe.
Aftersun’s wins include Best Cinematography, Best Editing, and Best Music Supervision. The latter is a new category introduced this year.
The Cannes breakout also leads overall nominations for this year’s British Independent Film Awards with a sweeping 16 nods, including Best Director and Best film.
The Best Casting award was picked up by Shaheen Baig for Blue Jean. The soulful social drama about homophobia in Thatcherite Britain has 13 nominations.
Elsewhere, Oliver Hermanus’ Living, a Kazuo Ishiguro-penned update of Kurosawa’s Ikiru, was awarded Best Production Design for Helen Scott. Sebastián Lelio’s The Wonder picked up the Best Original Music gong, Best Costume Design went to Mrs. Harris Goes to Paris, Best Effects for Alex Garland’s Men, and Best Make-Up & Hair Design for Medusa Deluxe.
- 11/18/2022
- by Zac Ntim
- Deadline Film + TV
Prizes for ‘Blue Jean’, ‘The Wonder’, ‘Living’ and more.
Charlotte Wells’ Aftersun has topped the winners in the craft categories at the British Independent Film Awards (Bifas), taking three of the 10 prizes on offer.
Released into 109 UK-Ireland cinemas today (Nov 18) by Mubi, Aftersun received the best cinematography prize for Gregory Oke; best editing for Blair McClendon; and the new best music supervision award for Lucy Bright.
Scroll down for the full list of Bifa 2022 craft winners
The film recorded the second-most Bifa nominations ever for a single title last week with 16. With three of its nine craft nominations converted to wins,...
Charlotte Wells’ Aftersun has topped the winners in the craft categories at the British Independent Film Awards (Bifas), taking three of the 10 prizes on offer.
Released into 109 UK-Ireland cinemas today (Nov 18) by Mubi, Aftersun received the best cinematography prize for Gregory Oke; best editing for Blair McClendon; and the new best music supervision award for Lucy Bright.
Scroll down for the full list of Bifa 2022 craft winners
The film recorded the second-most Bifa nominations ever for a single title last week with 16. With three of its nine craft nominations converted to wins,...
- 11/18/2022
- by Ben Dalton
- ScreenDaily
Having premiered at the Cannes Film Festival, the BFI London Film Festival, and the 60th annual New York Film Festival this year, if we’re going to call out a breakout horror for this year, it probably has to be British filmmaker Mark Jenkin’s “Enys Men.” And arguably, between Jekin, Ben Wheatley, and Peter Strickland, it’s safe to say that the creepy subgenre of freaky folk horror—think “The Wicker Man”—is really going through a renaissance period thanks to English filmmakers.
Continue reading ‘Enys Men’ Trailer: Mark Jenkin’s Cannes-Acclaimed Witchy Folk Horror Is Coming Soon at The Playlist.
Continue reading ‘Enys Men’ Trailer: Mark Jenkin’s Cannes-Acclaimed Witchy Folk Horror Is Coming Soon at The Playlist.
- 11/17/2022
- by Rodrigo Perez
- The Playlist
Greek prime minister attends festival to highlight incentives for international projects.
Costa Rican director Valentina Maurel’s I Have Electric Dreams has won the €10,000 Golden Alexander-Theo Angelopoulos prize for best film at Greece’s Thessaloniki International Film Festival (TIFF) which took place from November 3-13.
The film’s lead actor Reinaldo Amien Gutierrez also won the best actor award at the festival.
The French, Belgian and Costa Rican co-production, which premiered in Locarno, follows a young girl’s coming of age and her relationship with her estranged father. World sales are handled by Greece’s Heretic.
The international competition jury...
Costa Rican director Valentina Maurel’s I Have Electric Dreams has won the €10,000 Golden Alexander-Theo Angelopoulos prize for best film at Greece’s Thessaloniki International Film Festival (TIFF) which took place from November 3-13.
The film’s lead actor Reinaldo Amien Gutierrez also won the best actor award at the festival.
The French, Belgian and Costa Rican co-production, which premiered in Locarno, follows a young girl’s coming of age and her relationship with her estranged father. World sales are handled by Greece’s Heretic.
The international competition jury...
- 11/16/2022
- by Alexis Grivas
- ScreenDaily
Scottish filmmaker Charlotte Wells’s debut feature Aftersun leads the nominations for this year’s British Independent Film Awards with a sweeping 16 nods, including Best Director and Best film.
The film’s impressive nominations haul includes Best Director, Best Screenplay, Best Debut Director (the Douglas Hickox Award) and Best Debut Screenwriter nods for Wells and a Best Joint Lead Performance nomination for stars Paul Mescal and newcomer Frankie Corio, who received a Breakthrough Performance nomination. The Barry Jenkins-produced pic is also up for Best British Independent Film and racked up a further nine craft nominations, including Best Casting and Cinematography.
Inspired by, but not based on, Wells’s experiences as the child of young parents, the poignant ’90s-set film explores a father and daughter’s complex relationship against the backdrop of a simmering holiday the pair have taken to a resort in Turkey.
Georgia Oakley’s debut film Blue Jean trails behind with 13 nominations.
The film’s impressive nominations haul includes Best Director, Best Screenplay, Best Debut Director (the Douglas Hickox Award) and Best Debut Screenwriter nods for Wells and a Best Joint Lead Performance nomination for stars Paul Mescal and newcomer Frankie Corio, who received a Breakthrough Performance nomination. The Barry Jenkins-produced pic is also up for Best British Independent Film and racked up a further nine craft nominations, including Best Casting and Cinematography.
Inspired by, but not based on, Wells’s experiences as the child of young parents, the poignant ’90s-set film explores a father and daughter’s complex relationship against the backdrop of a simmering holiday the pair have taken to a resort in Turkey.
Georgia Oakley’s debut film Blue Jean trails behind with 13 nominations.
- 11/4/2022
- by Zac Ntim
- Deadline Film + TV
Charlotte Wells’ “Aftersun” and Georgia Oakley’s “Blue Jean” led the nominations at the 2022 British Independent Film Awards (BIFA) with 16 and 13 nods respectively.
Sebastián Lelio’s “The Wonder” followed with 12 nominations, Oliver Hermanus’ “Living” nine and Peter Strickland’s “Flux Gourmet” seven.
From this year, the awards are permanently going gender neutral for acting categories with the traditional best and supporting actress and actor awards being replaced by best lead performance, best supporting performance, best joint lead performance — for performances that are the joint focus of the film — and best ensemble.
The nominations were revealed at London’s Everyman Broadgate cinema by hosts, actors Sam Clafin (“Peaky Blinders”) and Kosar Ali (double BIFA winner for “Rocks”).
BIFA Nominations 2022
The Richard Harris Award For Outstanding Contribution By An Actor To British Film
To Be Announced
Best British Independent Film
“Aftersun” – Charlotte Wells, Barry Jenkins, Mark Ceryak, Adele Romanski, Amy Jackson
“Blue Jean” – Georgia Oakley,...
Sebastián Lelio’s “The Wonder” followed with 12 nominations, Oliver Hermanus’ “Living” nine and Peter Strickland’s “Flux Gourmet” seven.
From this year, the awards are permanently going gender neutral for acting categories with the traditional best and supporting actress and actor awards being replaced by best lead performance, best supporting performance, best joint lead performance — for performances that are the joint focus of the film — and best ensemble.
The nominations were revealed at London’s Everyman Broadgate cinema by hosts, actors Sam Clafin (“Peaky Blinders”) and Kosar Ali (double BIFA winner for “Rocks”).
BIFA Nominations 2022
The Richard Harris Award For Outstanding Contribution By An Actor To British Film
To Be Announced
Best British Independent Film
“Aftersun” – Charlotte Wells, Barry Jenkins, Mark Ceryak, Adele Romanski, Amy Jackson
“Blue Jean” – Georgia Oakley,...
- 11/4/2022
- by Naman Ramachandran
- Variety Film + TV
Women dominate the performance, writing and directing categories.
Charlotte Wells’ Aftersun, Georgia Oakley’s Blue Jean and Sebastian Lelio’s The Wonder lead the nominations for the 2022 British Independent Film Awards (Bifas), with several major categories dominated by women including the new merged performance categories.
At the Bifas 25th edition, Wells’ Aftersun has 16 nominations – the second-most ever for a film at the Bifas, behind only Saint Maud’s record 17 from 2020. Wells is nominated for best British independent film, director, screenplay, debut director and debut screenwriter; while Frankie Corio and Paul Mescal are nominated in the new best joint lead performance category.
Charlotte Wells’ Aftersun, Georgia Oakley’s Blue Jean and Sebastian Lelio’s The Wonder lead the nominations for the 2022 British Independent Film Awards (Bifas), with several major categories dominated by women including the new merged performance categories.
At the Bifas 25th edition, Wells’ Aftersun has 16 nominations – the second-most ever for a film at the Bifas, behind only Saint Maud’s record 17 from 2020. Wells is nominated for best British independent film, director, screenplay, debut director and debut screenwriter; while Frankie Corio and Paul Mescal are nominated in the new best joint lead performance category.
- 11/4/2022
- by Ben Dalton
- ScreenDaily
Women dominate the performance, writing and directing categories.
Charlotte Wells’ Aftersun and Georgia Oakley’s Blue Jean lead the nominations for the 2022 British Independent Film Awards (Bifas), with several major categories dominated by women including the new merged performance categories.
At the Bifas 25th edition, Wells’ Aftersun has 16 nominations – the second-most ever for a film at the Bifas, behind only Saint Maud’s record 17 from 2020. Wells is nominated for best British independent film, director, screenplay, debut director and debut screenwriter; while Frankie Corio and Paul Mescal are nominated in the new best joint lead performance category.
Scroll down for the...
Charlotte Wells’ Aftersun and Georgia Oakley’s Blue Jean lead the nominations for the 2022 British Independent Film Awards (Bifas), with several major categories dominated by women including the new merged performance categories.
At the Bifas 25th edition, Wells’ Aftersun has 16 nominations – the second-most ever for a film at the Bifas, behind only Saint Maud’s record 17 from 2020. Wells is nominated for best British independent film, director, screenplay, debut director and debut screenwriter; while Frankie Corio and Paul Mescal are nominated in the new best joint lead performance category.
Scroll down for the...
- 11/4/2022
- by Ben Dalton
- ScreenDaily
[Editor’s note: This list was originally published on June 30, 2022. It was updated on October 6, 2022 to reflect new inclusions.]
Googly eyes. High-flying fighter jets. Terrifying aliens. Genies in bottles (and beyond). Lovable robots and wild red pandas. Medieval tweens. Meat. Romance. Dancing. Incredibly bad vacations. Farts. Freedom. The first nine months (and change) of 2022 have already gifted film fans with a wide array of incredible cinematic offerings, and there’s still plenty of titles yet to arrive on a screen near you.
Some of our favorite filmmakers have returned to the cinema with fresh visions, including everyone from Kogonada to Andrea Arnold, David Cronenberg to Daniels, Terence Davies to Peter Strickland, Lena Dunham to George Miller. And there have been plenty of new names to admire, too, including Audrey Diwan, Panah Panahi, Mimi Cave, John Patton Ford, Owen Kline, Adamma Ebo, and Jerrod Carmichael, all of whom have bowed debuts that make us feel hopeful for the future of film.
A handful of the films that have already earned...
Googly eyes. High-flying fighter jets. Terrifying aliens. Genies in bottles (and beyond). Lovable robots and wild red pandas. Medieval tweens. Meat. Romance. Dancing. Incredibly bad vacations. Farts. Freedom. The first nine months (and change) of 2022 have already gifted film fans with a wide array of incredible cinematic offerings, and there’s still plenty of titles yet to arrive on a screen near you.
Some of our favorite filmmakers have returned to the cinema with fresh visions, including everyone from Kogonada to Andrea Arnold, David Cronenberg to Daniels, Terence Davies to Peter Strickland, Lena Dunham to George Miller. And there have been plenty of new names to admire, too, including Audrey Diwan, Panah Panahi, Mimi Cave, John Patton Ford, Owen Kline, Adamma Ebo, and Jerrod Carmichael, all of whom have bowed debuts that make us feel hopeful for the future of film.
A handful of the films that have already earned...
- 10/6/2022
- by Kate Erbland and David Ehrlich
- Indiewire
Universal titles ‘Ticket To Paradise’, ‘Mrs. Harris Goes To Paris’ make top five.
RankFilm (distributor) Three-day gross (Oct 1-3)Total gross to date Week 1. Don’t Worry Darling (Warner Bros) £1.8m £6.2m 2 2. Smile (Paramount)
£1.5m £1.9m 1 3. Ticket To Paradise (Universal) £1.3m £5.2m 2 4. Mrs. Harris Goes To Paris (Universal) £806,794 £806,794 1 5. Avatar re-release (Disney) £735,000 £2.4m 2
Gbp to Usd conversion rate: 1.12
Olivia Wilde’s thriller Don’t Worry Darling retained the UK-Ireland box office lead for a second weekend with a £1.8m session, holding off the challenge of Paramount horror Smile.
Don’t Worry Darling is now up to a healthy £6.2m, after topping the midweek charts...
RankFilm (distributor) Three-day gross (Oct 1-3)Total gross to date Week 1. Don’t Worry Darling (Warner Bros) £1.8m £6.2m 2 2. Smile (Paramount)
£1.5m £1.9m 1 3. Ticket To Paradise (Universal) £1.3m £5.2m 2 4. Mrs. Harris Goes To Paris (Universal) £806,794 £806,794 1 5. Avatar re-release (Disney) £735,000 £2.4m 2
Gbp to Usd conversion rate: 1.12
Olivia Wilde’s thriller Don’t Worry Darling retained the UK-Ireland box office lead for a second weekend with a £1.8m session, holding off the challenge of Paramount horror Smile.
Don’t Worry Darling is now up to a healthy £6.2m, after topping the midweek charts...
- 10/3/2022
- by Ben Dalton
- ScreenDaily
Conjuror of the bizarre Strickland outdoes himself with this tale of a sonic performance collective who stick microphones into food – and other places
British writer-director Peter Strickland, the distinctive film-maker behind such deliciously indefinable mysteries as Berberian Sound Studio and The Duke of Burgundy, says he hopes his latest cinematic chef-d’oeuvre “treats stomach problems responsibly while still pushing the boundaries of taste”. It’s a typically straight-faced statement from a wry artist whose habitually ritualised, fetishistic films have consistently straddled the boundary between the satirical and the serious, the playful and the profound. If Strickland’s last feature, In Fabric (2019), was an episode of Are You Being Served? as reimagined by David Lynch, then this “gastrointestinal drama” feels like an episode of The Galloping Gourmet being watched by a drunken doctor while performing a colonoscopy. It’s a bizarre exercise in culinary theatre, in which trapped wind becomes a...
British writer-director Peter Strickland, the distinctive film-maker behind such deliciously indefinable mysteries as Berberian Sound Studio and The Duke of Burgundy, says he hopes his latest cinematic chef-d’oeuvre “treats stomach problems responsibly while still pushing the boundaries of taste”. It’s a typically straight-faced statement from a wry artist whose habitually ritualised, fetishistic films have consistently straddled the boundary between the satirical and the serious, the playful and the profound. If Strickland’s last feature, In Fabric (2019), was an episode of Are You Being Served? as reimagined by David Lynch, then this “gastrointestinal drama” feels like an episode of The Galloping Gourmet being watched by a drunken doctor while performing a colonoscopy. It’s a bizarre exercise in culinary theatre, in which trapped wind becomes a...
- 10/2/2022
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Universal starts ‘Mrs. Harris Goes To Paris’, Curzon has ‘Flux Gourmet’.
Paramount horror Smile heads the new releases at the UK-Ireland box office this weekend, looking to benefit from a marketing campaign that has combined innovative and traditional methods.
US filmmaker Parker Finn’s feature debut is adapted from the idea used in his 2020 short Laura Hasn’t Slept, which won a special jury award at SXSW.
Opening in 518 sites, Smile stars Sosie Bacon as a doctor who witnesses a traumatic incident involving a patient; then begins to experience frightening occurrences that she can’t explain, involving smiling faces. Kyle Gallner,...
Paramount horror Smile heads the new releases at the UK-Ireland box office this weekend, looking to benefit from a marketing campaign that has combined innovative and traditional methods.
US filmmaker Parker Finn’s feature debut is adapted from the idea used in his 2020 short Laura Hasn’t Slept, which won a special jury award at SXSW.
Opening in 518 sites, Smile stars Sosie Bacon as a doctor who witnesses a traumatic incident involving a patient; then begins to experience frightening occurrences that she can’t explain, involving smiling faces. Kyle Gallner,...
- 9/30/2022
- by Ben Dalton
- ScreenDaily
Universal’s “Ticket to Paradise,” starring Julia Roberts and George Clooney, and Warner Bros.’ “Don’t Worry Darling,” with Florence Pugh, Harry Styles and Chris Pine, were in a close tussle at the U.K. and Ireland box office, with the former winning narrowly.
“Ticket to Paradise” collected £2.8 million (3.03 million) to top the box office, edging “Don’t Worry Darling,” which took £2.7 million (2.99 million) to second place, according to numbers released by Comscore.
Disney’s “Avatar” rerelease placed third with £1.2 million. After two weeks atop the box office, Disney’s “See How They Run” dropped to fourth position in its third weekend with £473,222 for a total of £3.6 million.
Rounding off the top five was Universal’s David Bowie documentary “Moonage Daydream,” which collected £375,399 in its second weekend for a total of £676,185.
Paramount’s Tom Cruise vehicle “Top Gun: Maverick” placed 10th with £139,461 in its 18th weekend for a total of £82.8 million, comfortably...
“Ticket to Paradise” collected £2.8 million (3.03 million) to top the box office, edging “Don’t Worry Darling,” which took £2.7 million (2.99 million) to second place, according to numbers released by Comscore.
Disney’s “Avatar” rerelease placed third with £1.2 million. After two weeks atop the box office, Disney’s “See How They Run” dropped to fourth position in its third weekend with £473,222 for a total of £3.6 million.
Rounding off the top five was Universal’s David Bowie documentary “Moonage Daydream,” which collected £375,399 in its second weekend for a total of £676,185.
Paramount’s Tom Cruise vehicle “Top Gun: Maverick” placed 10th with £139,461 in its 18th weekend for a total of £82.8 million, comfortably...
- 9/27/2022
- by Naman Ramachandran
- Variety Film + TV
You may have to go all the way back to Berlin when we first saw Flux Gourmet but it’s a film that lingers long in the memory – and has finally landed its UK release date this weekend. Back at the German capital at the start of this year, we spoke to some of those responsible for the movie, interviewing star Fatma Mohamed alongside her director Peter Strickland, as well as chatting to Greek actress Ariane Labed. Below you can watch both interviews in their entirety as we discuss the film in its all its glory, from working with Asa Butterfield, to balancing different genres and themes, to, well, indigestion. Enjoy!
Fatma Mohamed & Peter Strickland
Ariane Labed
Synopsis
Set at an institute devoted to culinary and alimentary performance, a collective finds itself embroiled in power struggles, artistic vendettas and gastrointestinal disorders.
Flux Gourmet is released on September 30th
The post Peter Strickland,...
Fatma Mohamed & Peter Strickland
Ariane Labed
Synopsis
Set at an institute devoted to culinary and alimentary performance, a collective finds itself embroiled in power struggles, artistic vendettas and gastrointestinal disorders.
Flux Gourmet is released on September 30th
The post Peter Strickland,...
- 9/27/2022
- by Stefan Pape
- HeyUGuys.co.uk
It is a Switzerland kind of day here at ScreenAnarchy. The Lausanne Underground Film & Music Festival announced their full program for this year's edition. There are some terrific films in their lineup so we'd thought we'd do the festival a solid and highlight those for our readers in the area. Peter Strickland's Flux Gourmet will open the film program this year and Carter Smith's Swallowed has been chosen to close out the five day event. In between festival attendees will also have the chance to see All Jacked Up And Full of Worms, Jethica and Unicorn Wars. The portion of the announcement pertaining to film follows. You will find links to our coverage of the films mentioned below that. More information about the complete...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 9/22/2022
- Screen Anarchy
The festival celebrates UK independent cinema and runs September 28 - October 2.
Martin McDonagh’s The Banshees Of Inisherin will screen at France’s Dinard Festival Of British Film (September 28 - October 2), with Sophie Hyde’s Good Luck To You, Leo Grande closing the event.
Both films will have their French premiere at the festival which is held on the coastal town of Dinard, France and celebrates independent cinema from the UK.
Scroll down for full line-up
McDonagh’s Ireland-set comedy drama recently premiered at Venice Film Festival and stars Colin Farrell and Brendan Gleeson as two lifelong friends hurtled into...
Martin McDonagh’s The Banshees Of Inisherin will screen at France’s Dinard Festival Of British Film (September 28 - October 2), with Sophie Hyde’s Good Luck To You, Leo Grande closing the event.
Both films will have their French premiere at the festival which is held on the coastal town of Dinard, France and celebrates independent cinema from the UK.
Scroll down for full line-up
McDonagh’s Ireland-set comedy drama recently premiered at Venice Film Festival and stars Colin Farrell and Brendan Gleeson as two lifelong friends hurtled into...
- 9/8/2022
- by Ellie Calnan
- ScreenDaily
If the new release slate is any indication, this Halloween season will be massive for horror. That doesn’t even begin to cover the library title additions to the plethora of streaming services available.
September brings home brand new releases, underseen classics, wacky cult gems, and more to add to your Halloween viewing watchlists.
Here are ten noteworthy horror titles available for streaming in September 2022 on some of the most popular streaming services, along with when/where you can watch them.
The Ring Two (Extended Version) – September 1 (HBO Max)
The Naomi Watts-starring remake of Goodnight Mommy is headed to Prime Video on September 16. Ahead of its debut, catch up with Watts in the sequel to the 2002 remake, The Ring. The Ring Two picks up months after the first film’s events, with Samara again targeting Rachel’s son. HBO Max offers the extended cut of this sequel.
We’re All Going to The World’s Fair...
September brings home brand new releases, underseen classics, wacky cult gems, and more to add to your Halloween viewing watchlists.
Here are ten noteworthy horror titles available for streaming in September 2022 on some of the most popular streaming services, along with when/where you can watch them.
The Ring Two (Extended Version) – September 1 (HBO Max)
The Naomi Watts-starring remake of Goodnight Mommy is headed to Prime Video on September 16. Ahead of its debut, catch up with Watts in the sequel to the 2002 remake, The Ring. The Ring Two picks up months after the first film’s events, with Samara again targeting Rachel’s son. HBO Max offers the extended cut of this sequel.
We’re All Going to The World’s Fair...
- 8/31/2022
- by Meagan Navarro
- bloody-disgusting.com
10 films were competing for the Powell and Pressburger award.
Scottish animators Will Anderson and Ainslie Henderson’s 60-minutes documentary A Cat Called Dom has won the inaugural Powell and Pressburger Award for best film at this year’s Edinburgh International Film Festival.
Anderson and Henderson star in and co-direct the inventive documentary, which had its world premiere at Eiff. The film explores how Will deals with his mother’s cancer diagnosis and also the frustrations of trying to make a film.
The jury, comprised of president Gaylene Gould (founder of creative lab The Space to Come), producer Rosie Crerar and author Sarah Winman,...
Scottish animators Will Anderson and Ainslie Henderson’s 60-minutes documentary A Cat Called Dom has won the inaugural Powell and Pressburger Award for best film at this year’s Edinburgh International Film Festival.
Anderson and Henderson star in and co-direct the inventive documentary, which had its world premiere at Eiff. The film explores how Will deals with his mother’s cancer diagnosis and also the frustrations of trying to make a film.
The jury, comprised of president Gaylene Gould (founder of creative lab The Space to Come), producer Rosie Crerar and author Sarah Winman,...
- 8/23/2022
- by Wendy Mitchell
- ScreenDaily
Editor’s note: This review was originally published at the 2022 Locarno Film Festival. Oscilloscope releases the film in select theaters on Friday, August 25.
Using sci-fi to create a sexual allegory is a staple of body horror genre, just ask David Cronenberg. Now, let us introduce the body pleasure genre. No, not porn, but a character-driven drama in which personal and sexual growth synthesise in the name of erotic cinema.
Visual artist Ann Oren’s debut feature “Piaffe” fits this exact mold, following a meek introvert in Berlin who grows a horse’s tail and has a sexual awakening. Oren’s teasing style is the perfect route into the story. Shooting on 16mm, she mounts every scene by slowly, surely feeding in key details. In other words: she has a gift for both horseplay and foreplay.
Eva (Simone Bucio) is tasked with sound designing a commercial for a dubious mood-stabilizing drug after sister,...
Using sci-fi to create a sexual allegory is a staple of body horror genre, just ask David Cronenberg. Now, let us introduce the body pleasure genre. No, not porn, but a character-driven drama in which personal and sexual growth synthesise in the name of erotic cinema.
Visual artist Ann Oren’s debut feature “Piaffe” fits this exact mold, following a meek introvert in Berlin who grows a horse’s tail and has a sexual awakening. Oren’s teasing style is the perfect route into the story. Shooting on 16mm, she mounts every scene by slowly, surely feeding in key details. In other words: she has a gift for both horseplay and foreplay.
Eva (Simone Bucio) is tasked with sound designing a commercial for a dubious mood-stabilizing drug after sister,...
- 8/12/2022
- by Sophie Monks Kaufman
- Indiewire
Peter Strickland’s films have always been as much about mood as plot and perhaps never more so than with his latest. Set with in a culinary institute, it feels more like an amuse bouche than a full meal, while at the same time all proving a bit too much. When one of his lead characters says, “I just like to be in control”, it feels as though she could almost be speaking for the writer/director himself, who finely calibrates every aspect of this environment, from its colour palette and dead-pan humour down to its employment of foreign language and elaborate sound design.
After the everyday, albeit heightened, setting of department stores and washing machine repairs of his previous film In Fabric, this time Strickland’s satire takes pointed aim at the art world, and the interplay between funders and creators. Although the set-up seems deliberately far-fetched – an electro-music group whose.
After the everyday, albeit heightened, setting of department stores and washing machine repairs of his previous film In Fabric, this time Strickland’s satire takes pointed aim at the art world, and the interplay between funders and creators. Although the set-up seems deliberately far-fetched – an electro-music group whose.
- 8/8/2022
- by Amber Wilkinson
- eyeforfilm.co.uk
Hello, everyone! We’re back after a brief hiatus to give you a look at the horror and sci-fi headed home this week on home media. As it turns out, the month of August’s releases are starting off on a quiet note, as we have two titles getting the 4K treatment this Tuesday—Dario Argento’s Tenebrae and Flatliners from Joel Schumacher—and then a handful of indie horror arriving on both Blu-ray and DVD: Scream at the Devil, Paranormal Devil, The Farm, and Joker’s Poltergeist.
Flatliners 4K
Some Lines Shouldn’T Be Crossed.
Known for his impressively eclectic filmography and for helping to launch the careers of several young Hollywood stars of the 80s and 90s, Joel Schumacher tackles the existential question that, at one time or another, haunts us all: what awaits us after we die?
At the University Hospital School of Medicine, five ambitious students...
Flatliners 4K
Some Lines Shouldn’T Be Crossed.
Known for his impressively eclectic filmography and for helping to launch the careers of several young Hollywood stars of the 80s and 90s, Joel Schumacher tackles the existential question that, at one time or another, haunts us all: what awaits us after we die?
At the University Hospital School of Medicine, five ambitious students...
- 8/2/2022
- by Heather Wixson
- DailyDead
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