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to Agence France-Presse.

Murtada Elfadl A successful photographer celebrated around the world. A writer who resorts to publishing her own novels. Each had a long history of relationships, familial and otherwise, before they met in middle age.

Prior to making headlines the next day after a short-lived health scare that required a brief stay in hospital, Ireland’s President Michael D. Higgins arrived at Dublin’s Complex arts center last Wednesday to present the Dublin film festival’s highest honor to Steve McQueen. Introduced in 2007 and named the Volta Award, after the first commercial cinema set up in Dublin in 1909 by writer James Joyce, its previous recipients include Daniel Day Lewis, Claudia Cardinale and Al Pacino. The famously serious director was in high spirits, enthusing that “festivals are about passion, a passion for film.” “There’s always a buzz, isn’t there?” he continued. “[As you] go to the next picture, the next film, you tend to give people tips and say, ‘Oh, you’ve got to see this, you’ve got to see that…’”

Of the five international films shortlisted for the Oscars, The Teachers’ Lounge has had the longest legs. Debuting at the 2023 Berlinale — and not even in competition — Ilker Çatak’s provocative thriller has been a fixture on the festival circuit ever since. Channeling the dark spirit of Michael Haneke, it stars Leonie Benesch as Carla Nowak, a teacher at a public school where a series of thefts have been taking place. Non-white students are immediately targeted, and Carla is disgusted by the blatant racism on display. But when she sets a trap to find the real culprit, things don’t go according to plan.

Siddhant Adlakha Over three hours and five different chapters, Matthias Glasner’s “Dying” chronicles the travails of an estranged family of four: an elderly couple on the brink of death, their successful composer son and their alcoholic, ne’er-do-well daughter. The film casts a wide net over their experiences, and every leading performance is as impeccable as the last. However, Glasner’s formal rigidity prevents their stories from feeling intrinsically bound, leaving each of them with little to say.

Elsa Keslassy International Correspondent By now, even the most hardcore fans of French cuisine and “Chocolat” star Juliette Binoche can agree that Justine Triet‘s “Anatomy of a Fall” – rather than Tran Anh Hung’s “The Taste of Things” — was the one movie that could have given France its first Oscar win for best international feature in over 30 years, since Régis Wargnier’s “Indochine.” Over the last three decades, a number of French movies have earned Oscar recognition, but none have been the official French Oscar submission. Michael Haneke’s “Amour” earned five Oscar noms in 2013 and even won the best foreign-language Oscar but it represented Austria.

Peter Debruge Chief Film Critic Hailing from the country that gave us such grim social critics as Michael Haneke and Ulrich Seidl (fittingly, the latter serves as a producer here), Vantablack Austrian satire “Veni Vidi Vici” opens with a senseless homicide. It’s a startling scene, no less upsetting than the Scorpio killing that kick-starts “Dirty Harry” — except that in this case, the incident is calibrated as the darkest sort of comedy.

Christian Friedel melts into his roles, most recently as the commandant of Auschwitz in Jonathan Glazer’s “The Zone of Interest.” The Dresden, Germany-based actor and musician fashioned Rudolf Höss as an executive on the rise: he’s a snappy dresser who’s efficient and knows how to get the most out of his employees and equipment —and how to suck up to his bosses. Except that he’s running a death camp and overseeing the murder of thousands of Jews and whoever else the Nazis didn’t like. He also oversees a large family run by his equally striving and efficient wife, Hedwig (played by Sandra Hüller, who’s having a great year — catch her in “Anatomy of a Fall”).

Austrian filmmaker Michael Haneke has been relatively quiet of late and hasn’t made a film since 2017’s “Happy End,” but his exacting reputation has been coming under fire in recent weeks.

Ilker Çatak’s The Teachers’ Lounge world premiered to acclaim in the Berlin Film Festival’s Panorama section in February, then swept the board three month later at the German Film Awards, scooping best film, director, screenplay, editing and actress for Leonie Benesch.

Naman Ramachandran The 19th Zurich Film Festival promises to be a star-studded affair with plenty of Hollywood A-list talent attending. Todd Haynes will be honored with the festival’s A Tribute to… Award and will present his film “May December.” Previous recipients include Paolo Sorrentino, Wim Wenders, Olivier Assayas, Claire Denis, Michael Haneke, Oliver Stone, Maïwenn and Luca Guadagnino. “It’s a real honor to celebrate this master of American cinema.

Todd Haynes will be honored with the Zurich Film Festival’s A Tribute To… Award at its upcoming 19th edition.

EXCLUSIVE: Distributor-producer Lucky Red is one of Italy’s most respected independent film and TV companies. Run by former actor Andrea Occhipinti since 1987, the firm has released more than 500 titles and produced more than 50 films.

For a few beautiful years in the early 2000s, Michael Pitt’s spine-chilling blue eyes wreaked havoc in world cinema, from Bernardo Bertolucci’s “The Dreamers” to Michael Haneke’s “Funny Games.” Then, due to quite a few controversies, the actor stepped away from the limelight, taking on smaller projects here and there and leaving an abyssal gap in the industry: a blue-eyed menace whose presence in any given film immediately signaled some form of psychological torture. Many have tried their hand at filling this gap, from the sprawling Skarsgårds to Dane DeHaan, but no one has come as close to it as Caleb Landry Jones.

When it comes to “Passages,” Ira Sachs’ witty, wise and very sexy Parisian drama, it all started with Franz Rogowski, who plays the film’s self-absorbed film director, Tomas. “I had seen Michael Haneke’s “Happy End” starring Franz,” remembers Sachs, the auteur of richly textured, grown-up gems such as “Love is Strange,” “Little Men” and “Keep the Lights On,” recently joining me for an interview about his latest, opening in theaters this week.

The lessons learned in this pitch-black German-Bulgarian co-production are very grim indeed, a social-realist drama that takes an unexpectedly shocking turn at its harrowing climax. The film’s recent win at Karlovy Vary, where it took the Grand Prix in the Crystal Globe Competition, should give it a welcome boost on the arthouse circuit, but the unwary are warned that Stephan Komandarev’s latest feature packs a punch not seen since Lars Von Trier or Michael Haneke in their provocative prime.

Elsa Keslassy International Correspondent Les Films du Losange has unveiled the trailer for “Un Silence,” Joachim Lafosse’s thought-provoking film starring Daniel Auteuil and Emmanuelle Devos that will world premiere in competition at San Sebastian Film Festival. Tackling themes of abuse, the timely film revolves around Astrid (Devos), the wife of an acclaimed lawyer (Auteuil). Silenced for 25 years, her family balance suddenly collapses when her children initiate their own search for justice. One of Belgium’s leading filmmakers, Lafosse is best known internationally for 2012’s “Our Children,” a heart-wrenching drama based on a true story starring Emilie Dequenne and Tahar Rahim. “Our Children” represented Belgium in the Oscars race. “Un Silence” will mark Joachim’s follow up to “The Restless,” which competed at Cannes in 2021 and also explored imploding family dynamics.

Pat Saperstein Deputy Editor On the eve of King Charles III’s coronation, Variety’s chief film critic Peter Debruge was awarded the Chevalier dans l’Ordre des Arts et des Lettres for his long devotion to supporting French cinema. The French government bestows the honor, which means Knight of the national Order of Arts and Letters, to creative and literary figures who have contributed to French culture over the years. Past recipients range from Dennis Lim to Wes Anderson. The event took place Friday at the Beverly Hills residence of French consul general Julie Duhaut-Bedos, who hosted the ceremony along with Rosalie Varda, daughter of director Agnès Varda. “We are gathered today to celebrate the remarkable career of Peter Debruge and his strong relationship with France,” said Duhaut-Bedos. “French cinema could not have asked for a better long-distance lover,” she continued.

Mubi is adding over 50 features from the Sony Pictures’ library to its U.S. streaming service. The mix of studio and arthouse fare includes Steven Spielberg’s Close Encounters of the Third Kind, Martin Scorsese’s The Age of Innocence, The Last Picture Show by Peter Bogdanovich and films from Wes Anderson, Pedro Almodovar and Guillermo Del Toro.

Ruben Östlund has been named president of the jury at the 2023 Cannes Film Festival, Cannes organizers announced Tuesday morning in Paris.Östlund is a two-time winner of Cannes’ highest honor, the Palme d’Or, which he won in 2017 for “The Square” and last year for “Triangle of Sadness,” which is currently an Oscar nominee for Best Picture. He is one of only nine directors to have won the Palme twice, and one of only three to win the award for consecutive films.

It’s a backhanded compliment to Sundance to see such an emotionally-stunning film as Belgian director Veerle Baetens’ When It Melts, which premiered tonight in the festival’s World Cinema Dramatic Competition, and wonder, right away, why a film of this power won’t be debuting in the official selection at Cannes this year. This is in no way to suggest that the American indie showcase is a kind of second-best place for it, more an indictment of Europe’s biggest cinema event, which routinely takes such harrowing stories of tortured and troubled women — as long as they are directed by men.

It seems somehow surprising that Oscar-winning filmmaker Alejandro González Iñárritu and lauded veteran cinematographer Darius Khondji had never worked together before collaborating on Bardo, False Chronicle of a Handful of Truths. But when they finally did come together on what would become Mexico’s entry for the Best International Feature Oscar, there was an instant melding of the minds and a true feeling of kinship, with each telling me they felt as if they’d discovered a brother they’d never met.

Variety examines the Oscar selection process in an array of international markets to see what works, what’s broken and what needs fixing. Despite being over-represented in competition lineups at major festivals like Cannes and Venice, France has had a cursed track record in the international feature film race, and has been overshadowed by smaller countries like Denmark in recent years. The French haven’t been able to claim an Oscar victory in the category since 1993 with Regis Wargnier’s win for “Indochine.” In the past 15 years, only four French films submitted have landed a nomination: Ladj Ly’s “Les Miserables” in 2020, Deniz Gamze Ergüven’s Turkish-language film “Mustang” in 2016, Jacques Audiard’s “A Prophet” starring Tahar Rahim in 2010 and Laurent Cantet’s Palme d’Or-winning “The Class” in 2008. Ironically, some French-language films repping other countries in the international feature race have been more successful, such as Michael Haneke’s “Amour,” which was submitted by Austria in 2013 and won. In the upcoming race, France is vying for a nomination with Alice Diop’s Venice Golden Lion-winning “Saint Omer,” a politically minded feature debut based on the real-life trial of Fabienne Kabou, a Senegalese immigrant accused of murdering her 15-month-old baby. This year’s Oscar committee, which included the likes of Audiard (“A Prophet”), Philippe Rousselet (“CODA”) and Hengameh Panahi (“Persepolis”), was bitterly split between “Saint Omer,” acquired by Neon’s Super label after Toronto, and “One Fine Morning,” Mia Hansen-Løve’s romance drama starring Lea Seydoux, which was picked up by Sony Pictures Classics in Cannes. The heated deliberations ended with a vote, as it almost always does.

Michael Nordine author Few remakes feel necessary, but English-language versions of international horror films have an especially difficult time justifying their existence. We certainly didn’t need George Sluizer or Michael Haneke to remake their own “The Vanishing” and “Funny Games” for the benefit of subtitle-averse audiences, nor was anyone asking for a “Let the Right One In” remake when it was first released. “Need” and “want” are two different things, of course, and it’s hardly unheard of for one of these remakes to be quite good — just ask Naomi Watts, who followed her star-making turn in “Mulholland Drive” with “The Ring.” The two-time Oscar nominee now finds herself as the face of Matt Sobel’s remake of Veronika Franz and Severin Fiala’s “Goodnight Mommy.” Well, maybe not the face exactly — as in the original, her head is obscured by surgical bandages for reasons that aren’t immediately made clear.

The Toronto International Film Festival announced its second big wave of programming for the 47th edition, a 54 feature title lineup across its Discovery, Midnight Madness and Wavelengths sections.

Christopher Vourlias Two-time Palme d’Or winner Ruben Östlund will receive an Honorary Heart of Sarajevo Award at the 28th edition of the Sarajevo Film Festival, which will open Aug. 12 with the Swedish director’s 2022 Cannes winner “Triangle of Sadness.”Östlund’s English-language debut, which earned a rowdy eight-minute standing ovation in Cannes, is a provocative social satire starring Harris Dickinson as a male model struggling with his shallow industry and the unchecked capitalism he benefits from, and Woody Harrelson as the rabid Marxist captain of a cruise for the super-rich.

Richard Natale Contributing WriterFrench film great Jean-Louis Trintignant, best known for his roles in “A Man and a Woman,” “Z,” and “The Conformist,” died Friday. He was 91.Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.

Jean-Louis Trintignant, a French actor known for art house classics like “The Conformist,” “Z,” “My Night at Maud’s” and more recently the Palme d’Or winner “Amour,” has died. He was 91.