‘Lost in the Night’ Review: Mexican Auteur Amat Escalante’s Latest is a Chilling Commentary on Absence [Cannes]

At Tuesday night’s world premiere of Spider-Man: Across the Spider-Verse, there was a huge sigh of relief from the mass of animators inside Westwood’s Regency Village Theater: The $100M-budgeted sequel to the Oscar-winning 2018 animated movie Spider-Man: Into the Spider-Verse, was done, having completed post-production literally just 10 days ago after a five-year trek to the screen which included a Covid delay due to the backlog in post-production houses. Starting today abroad, and into Thursday in U.S./Canada, the continuing adventures of Miles Morales will see the light of day in what is expected to be a $150M global opening.

In a recent interview with The Hollywood Reporter, Daniela Melchior spills the details behind the uncomfy scene in “Fast X” which left audiences shuddering.

Coldplay have made it back home.

Coldplay have made it back home.

Lana Del Rey doesn’t leave home without her trusty vape.

Emiliano Granada Lightning strikes twice. Having won the Un Certain Regard Jury Prize in 2018 with “The Dead and the Others,” filmmaking duo Renée Nader Messora and João Salaviza scooped a Un Certain Regard Ensemble Prize on Friday night, including the collective crew and creative team, for “The Buriti Flower.” The couple, whom across the years have developed what they describe as a profound relation with the Krahô Indigenous community, have delved once again into a unique production process resulting in a portrait of strong, sensorial visuals, while tabling an urgent dialogue on the means of resistance in a modern world.  Produced by Karõ Filmes, Entrefilmes and Material Bruto and sold by Films Boutique, the film tackles the impact of policies pursued by former Brazilian president Jair Bolsonaro’s on the life of Indigenous communities, eloquently shifting between fiction and documentary as it registers their own political discourse.

Despite being on the losing side, Alan Pardew is often the first person who springs to mind when remembering the 2016 FA Cup final.

Refresh for latest…: Disney’s live-action take on The Little Mermaid is doing swimmingly at the domestic box office, with a three-day opening of $95.5M and a four-day projection of $117.5M. Factoring in the international box office bow of $68.3M, that makes for an estimated $163.8M global debut through Sunday. The offshore launch is lower than hoped for coming into the frame. But it bears noting there was something fishy going on in overseas markets with so-called review-bombing in such areas as France, Korea, Germany and beyond.

Rotten Tomatoes. Those are the scores this remake will need to keep legging out against a crowded June slate that starts next weekend with “Spider-Man: Across the Spider-Verse.” But here comes the bad news: “The Little Mermaid” has posted an international opening of just $68 million from 51 markets.

Anitta is working on a new project, and the wardrobe is every bit as colorful as it is sexy.

In less than 10 years, Alice Rohrwacher has carved out a formidable reputation for herself, notably by gatecrashing the boys’ club that is traditionally the Cannes competition, and the fact that she did so in 2014 with only her second film, The Wonders, is further proof of a distinctive talent. One competition slot doesn’t guarantee another, yet Rohrwacher was back in 2018 with the follow-up, Happy as Lazzaro. Both films won prizes — Grand Prix and Best Screenplay, respectively — which means that expectations are high for the Oscar-nominated 41-year-old Italian, whose new film, La chimera, makes it three in a row.

Cannes 2023 comes to a close, and much like yesterday, things have seemed a bit quiet. The movie on most everyone’s lips, at least if social media is any indicator, was Trần Anh Hùng’s period drama “The Pot au Feu,” a feature that, according to TheWrap’s Ben Croll in his review, “might very well be the most handsomely shot and soothingly felt serving of art house food porn ever brought to screen.

Marta Balaga Projeto Paradiso has announced in Cannes that Daniel Bandeira has won the Pop Up Film Residency Paradiso. The program is created exclusively for Brazilian professionals. Bandeira, currently developing “Red Express,” is also behind “Property”, which premiered at the Berlinale’s Panorama back in February. Born in Pernambuco, he has been a filmmaker since 2001, making his feature debut with “Peer Pressure.”  The three-week Pop Up Film Residency – carried out in partnership with Matthieu Darras of Tatino Films – will take place in the Faroe Islands in Denmark, with Jón Hammer of Kyk Pictures joining as local partner.

In 2008, Kléber Mendonça Filho released “Crítico,” a documentary building upon his years of experience as a film critic to weave a rich chronicling of cinephilia that gathered over 70 critics and filmmakers to discuss cinema in all of its joys and contradictions. Fifteen years later and following great acclaim as a fiction feature director, Filho returns to documentary to investigate some of the themes he first prodded upon in his debut with “Pictures of Ghosts.” READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch  As with Godard and Paris, Fellini and Rome, Scorsese, and New York, Filho is a filmmaker whose craft is deeply intertwined with his love of a city, in this case, the Pernambuco capital of Recife, in the north-east of Brazil.

It’s widely know that Henry VIII, the Tudor king, had a particularly grim batting average when it came to matrimony.

The ladies of Aespa just made their Cannes Film Festival debut!

Lise Pedersen Moving towards a more equitable and accountable curation in film programming and selection processes, ethical representation in storytelling and the challenges posed by the lack of awareness and accountability was at the heart of a panel discussion at Cannes Docs, the Cannes Film Market event dedicated to documentary film, on May 20. Panelists included Egyptian director and producer Nada Riyadh, British-Chinese writer and director Paul Sng, Brazilian producer Yolanda Maria Barroso and Swedish producer Malin Hüber; it was moderated by the BFI’s Race Equality Lead Rico Johnson-Sinclair. Opening on a positive note, Riyadh said that, “as an Arab woman,” she welcomed the presence in the official selection at Cannes this year of docs by Tunisian director Kaouther Ben Hania (“Four Daughters,” main competition) and Moroccan filmmaker Asmae El Moudir (“The Mother of All Lies,” Un Certain Regard), even though “in the real world I still get asked whether I do docs or real films,” she added with a smile.

Sophia Scorziello editor The 2023 Motion Picture Association Awards will honor director Gina Prince-Bythewood, House Minority Leader Hakeem Jeffries and Mexico City Gov. Claudia Sheinbaum Pardo for their distinct impact on the film, television and streaming industry. The second annual MPA awards are set to take place in June at the MPA Headquarters in Washington. “The 2023 MPA Awards recognize three individuals whose valuable contributions have enabled our global industry to continue to flourish,” said Charles Rivkin, MPA chairman and CEO. “Each of this year’s honorees is working in their own way to ensure the success of the global creative economy, protect creators and build a more inclusive pipeline for storytellers. It is because of them, and many others, that the industry continues to deliver the films and TV shows loved by audiences everywhere.”

Lise Pedersen The highest award for docs-in-progress at the Cannes Film Market’s sidebar dedicated to documentary, Cannes Docs, has gone to Ya-Ting Hsu’s debut feature doc “Islands of the Winds.” Twenty years in the making, the film follows the anti-eviction struggle of the patients of Losheng Sanatorium for lepers, which became a symbol of the fight for democracy in Hsu’s native Taiwan. The prize comes with a €10,000 ($10,800) cash prize and project follow-up by IEFTA (the International Emerging Film Talent Assn.). It is produced by Hsu’s Taiwan-based Argosy Films and Media Productions, Huang Yin-Yu (Moolin Films, Ltd. & Moolin Production, Co., Ltd, Taiwan and Japan) and Baptiste Brunner (Wide Productions – La Cuisine aux Images, France).