EXCLUSIVE: Multi-hyphenate Jay Chandrasekhar (Easter Sunday) has signed with Cinetic Media for management across all media.
17.05.2022 - 18:27 / dailyrecord.co.uk
The debut of a Scottish director is one of seven films to be selected for Critic's Week at the Cannes Film Festival in a spectacular moment for Scottish cinema.
'Aftersun' is the first directorial outing for Charlotte Wells, and was also given Scottish Government funding via Screen Scotland’s Film Production and Development Fund.
It will be one of seven films to be shown during Critic's Week at the most prestigious event in independent cinema.
Aftersun will also be included in the BFI showcase of British cinema being screened at the festival, which starts on Tuesday.
The movie also stars Irish actor Paul Mescal who rose to fame in his role in Sally Rooney's Normal People, a role which sparked a trend for chain necklaces.
Speaking to STV News Briony Hanson, the British council’s director of film said: “It feels like another banner year for UK talent with a range of first and second features about to complete that are going to knock the socks off international audiences.
“It’s especially gratifying to see that they come from filmmakers working all around the UK and speaking from really diverse perspectives.
“This is another GREAT8 we can be really excited about.”
A synopsis of the movie reads: “Sophie reflects on the shared joy and private melancholy of a holiday she took with her father 20 years earlier.
“Memories real and imagined fill the gaps between miniDV footage as she tries to reconcile the father, she knew with the man she didn’t.”
Aftersun will represent Scottish cinema amongst titles from as far ranging places as France, Portugal, Iran, and South Korea whcih also feature on the list.
Other movies on the list for critics week include Imagine by Ali Behrad, about a taxi driver in Tehran with an unrequited love, and Next
EXCLUSIVE: Multi-hyphenate Jay Chandrasekhar (Easter Sunday) has signed with Cinetic Media for management across all media.
Two premiere screenings of rock documentary Freakscene: The Story Of Dinosaur JR
Though shot and set prior to the Russian invasion, by dint of being a Ukrainian picture detailing the aftermath of a woman soldier’s assault in the Donbas, “Butterfly Vision” lays claim to uniquely wretched timeliness at this year’s Cannes. What is an impressive if formally flawed first film from Maksym Nakonechnyi earns some emotional weight vis-a-vis present events: the Ukrainian flags of blue and white, flown with unsparing pride across Nakonechnyi’s images, bear the immediate frisson of beleaguered resistance, and that women Stateside presently face unprecedented threats to their bodily autonomy only compounds the miserable resonance.
NEON earned bragging rights tonight with the third consecutive Palme d’Or Cannes winner in a row, that being Ruben Östlund’s satirical comedy Triangle of Sadness, which was a huge crowd pleaser during the fest.
John Hopewell Chief International CorrespondentAs genre makes much of the running in sales at this year’s Cannes Film Market, Filmax, traditionally one of its biggest vendors, has swooped on “32 Gats,” the next feature from Hèctor Hernandez Vicens who broke out with the 2015 SXSW premiere, “The Corpse of Anna Fritz.”Filmax will handle distribution in Spain as well as sell international rights.Produced by Carles Torras at Zabriskie Films, ”32 Gats,” writer-director Hernández Vicens’ fourth feature, turns on a couple, Ana, 36, and Salva, 49, who move into a house in the country where there’s space for the 32 cats that Ana has adopted in the last years.Ana is two-months pregnant. The couple begins to rehabilitate the house for the baby’s birth, but Ana begins to sense a presence in the house, and she isn’t the only one, it seems.
s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.
Filmmakers seeking to denounce the crushing effects of capitalism often seem to rely on the excuse that if their films aren’t subtle, it’s because capitalism itself isn’t either. But such systems of exploitation probably wouldn’t still be around if, on top of having (very visible, obvious, violent) power on their side, the powers that be didn’t perniciously plant their hooks into the minds and hearts of their victims, making them do most of the work for them.
This year’s dark horse in competition at Cannes is easily “Leila’s Brothers,” Iranian writer-director Saeed Roustaee’s third feature and worthy follow-up to his intense 2019 cop thriller “Just 6.5.” With hints of “The Godfather” and Arthur Miller evident throughout, the drama is a sprawling tale exploring dysfunctional family dynamics, economic hardships, and generational wealth. READ MORE: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch “Leila’s Brothers” follows the lives of a Tehran family as they struggle to stay afloat amidst financial hardships and complicated familial relationships.
Following the sparsely attended media conference for Close at Cannes this morning, journalists packed their way into the press room to hear Broker director Hirokazu Kore-Eda and cast, giving them a standing ovation.
The stars of the new movie Elvis, directed by Baz Luhrmann, stepped out for a press conference and photo call at the 2022 Cannes Film Festival.
Cannes Film Festival.Members of the production team for “Butterly Vision,” by Ukrainian director Maksym Nakonechni, protested the ongoing war in Ukraine while on the red carpet Wednesday.In front of Salle Debussy, the second-largest theater in Cannes, the team — including producers Darya Bassel and Yelizaveta Smit, plus actress Rita Burkovska — held a banner that read, “Russians kill Ukrainians. Do you find it offensive or disturbing to talk about this genocide?”The sirens heard on the red carpet stairs were meant to symbolize air raids in Ukraine, while the protestors held signs that read “sensitive content” over their faces.Not only were they demonstrating the ongoing devastation in Ukraine, but they were also attempting to show the extent of Russian censorship.The film “Butterfly Vision” explores a similar idea, albeit in a fictional world.
Elsa Keslassy International CorrespondentAndres Ramirez Pulido’s “La Jauria” won the Grand Prize at Critics’ Week, the Cannes Film Festival’s sidebar dedicated to first and second features. The Colombian film also won the SACD prize.
Manori Ravindran International EditorA24 has snapped up the Paul Mescal-led tearjerker “Aftersun” out of the Cannes Film Festival.The distributor has picked up North American rights for the movie, which premiered as part of the Cannes’ Critics’ Week section to rave reviews last week. The movie stars Mescal and newcomer Frankie Corio.“Aftersun” is produced by Adele Romanski, Barry Jenkins and Mark Ceryak for Pastel and Amy Jackson for Unified Theory.
A24 has won North American rights to Charlotte Wells’ Cannes buzz title Aftersun.
Viola Davis is being honored!
When cinema is your life, cinema can hurt. “Time doesn’t heal,” Tom Sturridge says about the scars that mark us in Olivier Assayas’ beguiling and fascinating new HBO limited-series version of “Irma Vep.” “Time just buries pain, but the wounds remain.” This eloquent twist on a platitude could perfectly encapsulate Assayas’ director’s statement.
IndieWire. “I had to say, ‘F— the war, I hate you [Russian president Vladimir Putin], bye.’ You can’t be silent about this war.”Serebrennikov himself had been in hot water with Russian authorities back in 2017, when he was convicted of embezzlement through his theater company and banned from leaving the country — a decision which outraged human rights groups who denounced the charge as falsified.
Four-time Oscar winner Ethan Coen has spoken out about the reasons behind his recent hiatus from filmmaking, as well as his return with the documentary Jerry Lee Lewis: Trouble in Mind, which makes its world premiere at the Cannes Film Festival on Sunday.
With his classic 1990s heartthrob looks, it was only a matter of time before Paul Mescal found his way into a film set in that era. Like “Normal People,” the series that catapulted the young Irish actor to fame, Charlotte Wells’ “Aftersun” has him wearing shorts, but this time with a belt and the polo shirt tucked in — a detail like many others in the film that should send a wave of recognition through audience members who grew up then.
not the help.The Oscar, Tony and Emmy winner has revealed that an unnamed filmmaker — a friend of nearly a decade — slipped up and called her by his maid’s name.“He called me Louise — and I found out it was because his maid’s name was Louise.” Davis, 56, dropped the bombshell claim during the “Women in Motion” event Thursday at the Cannes Film Festival.The diss went down when the now-revered “The First Lady” star was just starting out in the film biz. Davis added that it was not an isolated incident — but the sort of disturbing occurrence that happened repeatedly.“I knew him for 10 years,” said Davis, clad in a stunning scarlet suit.