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It’s been about ten years since filmmaker Jonathan Glazer’s last feature, the chilling and dazzling “Under The Skin,” starring Scarlett Johansson as an alien who begins to learn empathy. His latest, “The Zone Of Interest,” is arguably the opposite, about a family and community of affluent Germans and Nazis, who arguably ignore their sense of empathy, living next door to the most famous concentration camp of all time.

Justine Triet’s Anatomy of a Fall has given her an experience unlike any other she’s had over her 15-year career — one that includes winning the Palme d’Or at the Cannes Film Festival. “I would say that the job I’ve been doing since May is a job that I had never done before. It’s a new craft entirely,” she says. Anatomy of a Fall, which she co-wrote with her partner Arthur Harari, eschews the traditional courtroom drama to explore familial relationships when an ambitious, sexually self-assured novelist, played by Sandra Hüller, is put on trial for the suspicious death of her husband Samuel at their home in the French Alps.

The best in film and television was honored tonight at the 2023 Gotham Awards, which kicked off awards season with a bang!

Leo Barraclough International Features Editor Jonathan Glazer’s “The Zone of Interest” and Aki Kaurismäki’s “Fallen Leaves” led the European Film Awards race after nominations for the major categories were revealed Tuesday. The films were nominated in all five major categories – European film, director, screenwriter, actor and actress. Justine Triet’s “Anatomy of a Fall” was close behind with four nominations – film, director, screenwriter and actress.

‘The Zone Of Interest’ Teaser Trailer 

The Taste of Things” over “Anatomy of a Fall,” Justine Triet’s Palme d’Or winning film, to represent the country in the international feature film race. “The Taste of Things” (previously titled “The Pot-au-Feu”) won best director at Cannes for French-Vietnamese filmmaker Trần Anh Hùng. Starring Juliette Binoche and Benoit Magimel, the period movie was bought by IFC Films and Sapan Studios.

Jonathan Glazer’s Cannes-winning Holocaust drama The Zone Of Interest has been selected as the UK’s entry for the Best International Feature Film category at the 2024 Oscars.

EXCLUSIVE: Everybody mingles at Telluride. I have this abiding memory of Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences, at the festival’s opening-day brunch set atop a mountain in the San Juan range of the Rockies, bounding over to Cannes Palme d’Or winner Justine Triet and Sandra Hüller, her sublime lead star in the prize-winning movie Anatomy of a Fall.

It seemed there for a minute like the long-awaited return of the mighty Jonathan Glazer would win Cannes’ top prize, the coveted Palme d’Or award for his new film, “The Zone Of Interest.” Instead, the prize went to another top Cannes contender, seemingly universally loved by both audiences, critics, and the jury, “Anatomy Of A Fall.” Directed by Justine Triet (“Age Of Panic,” “Sibyl”), the film is a dramatic thriller that has riveted audiences.

At least once, I can say the winners of the 2023 Cannes Film Festival competition are actually the right ones. Maybe not exactly in the order I would have put them, but still, out of the 21 movies competing, it is hard to argue about almost all of the choices made by the Ruben Ostlund-led jury that, among others, included Americans Brie Larson and Paul Dano. I said almost.

Manori Ravindran Executive Editor of International Jonathan Glazer’s Nazi drama “The Zone of Interest” has sold into major international territories following its buzzy Cannes world premiere. The film centers on the family of a high-ranking SS official that lives next door to Auschwitz concentration camp. The pic has sold into: Austria and Germany (Leonine), Benelux (Cineart), France (BAC), Greece (Spentzos), Italy (I Wonder), Japan (Happinet Phantom Studios), Scandinavia (SF Studios), Spain (Elastica) and Switzerland (Filmcoopi). In Poland — a significant sales market for the film given it is set there — Gutek has come on board as distributor. (A24 was selling worldwide rights for the film, but did not handle the Polish sale.)

Justine Triet’s “Anatomy of a Fall,” playing in Competition at this year’s Cannes Film Festival, begins with an interview between a writer and a student interested in her work. It’s a lighthearted, almost flirty discussion where double entendres are part of a seemingly harmless game.

Rebecca Rubin Film and Media Reporter “The Zone of Interest,” writer-director Jonathan Glazer’s searing Nazi drama about the banality of evil, became the talk of Cannes Film Festival after its debut on Friday night. But the director admits he didn’t know the story he wanted to tell before the cameras were rolling. “You never really know why you tackle and subject. It’s an ever-evolving journey,” he said at Saturday’s press conference for the movie. “It wasn’t one particular moment that I knew I was going to make this film. When I started the process, I didn’t know what perspective we were coming from.” In the end result, “The Zone of Interest,” which is loosely based on the 2014 novel by Martin Amis, tells the story of Rudolf Höss, a Nazi commandant who designed and built Auschwitz. It also looks at his relationship with his wife Hedwig, as they create their dream life directly next door to the concentration camp. In crafting a portrait of the Holocaust, Glazer says he conducted an “enormous amount of research” to capture the divide between the Höss family’s mundane domestic dramas and Auschwitz, which lies on the other side of the garden walls.

Zack Sharf Digital News Director Jonathan Glazer just delivered the first instant sensation of the 2023 Cannes Film Festival. “The Zone of Interest,” only the director’s fourth feature film after “Sexy Beast,” “Birth” and “Under the Skin,” earned a six-minute standing ovation following its world premiere. Glazer’s film is austere and challenging as it tells the story of the commandant of Auschwitz and his wife, who have created their dream home directly next to the concentration camp. The constant screams of prisoners, gun shots and smoke from the gas chambers haunt their paradise, but their indifference to such horrors creates a terrifying and sinister juxtaposition.

Guy Lodge Film Critic Nearly 125 years after her assassination, the Empress Elisabeth of Austria — or Sisi to her enduring cultists — continues to inspire a veritable industry of portraiture in Europe: In the last year alone, a novel, two TV series (one of them a glossy Netflix affair) and two feature films have been dedicated to the tightly corseted royal icon. Viewers outside the Continental sphere of Sisi-mania may only have registered one of those films, Marie Kreutzer’s chic, subversive anti-biopic “Corsage,” which might make the second, German director Frauke Finsterwalder’s lush, irreverent “Sisi & I,” seem to them a too-soon spare — coincidentally repeating several tricks from Kreutzer’s anachronistic playbook with its modern feminist inflections, contemporary soundtrack cues and sensational fashions, albeit with plenty of its own panache.

Dan Stevens is a unique actor, clearly motivated by the material and almost nothing else. At the height of his fame on “Downton Abbey,” the actor walked away from the show, believing he would just have much more opportunity for diverse roles if he weren’t locked into the series.