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Misfits Entertainment has hired Film4 head of development Ben Coren in the new role of head of scripted.

Coren will oversee an expansion into the scripted space for UK production company Misfits, which has made its name with documentaries including The Contestant, Super/Man: The Christopher Reeve Story and Bafta-nominated McQueen.

“After so long on the financier side, it’s a privilege to move back into the world of indies at such a vibrant and dynamic company, with a commitment to telling stories from outsider perspectives,” said Coren.

He leaves Film4 after 11 years, during which he held several roles including head...

MK2 Films, the European sales, production and finance powerhouse behind movies by Justine Triet and Joachim Trier, is getting ready to ramp up its global scope and move further in the English-language space.

Following its appointment of Protagonist’s former managing director Vanessa Saal as executive consultant and U.K. lead earlier this month, MK2 Films has struck a multi-year financing deal with the investment fund manager Ipr.Vc to gain financial ammunitions and build a robust slate of projects.

The company has established itself as a leading force in auteur-driven cinema with a number of critical and commercial hits in recent years, including Justine Triet’s Oscar-winning “Anatomy of a Fall,” Joachim Trier’s “The Worst Person in the World” and Céline Sciamma’s “Portrait of a Lady on Fire.” It just rolled off a successful Cannes with internationally-driven movies such as Andrew Haigh’s “Belly of the Beast” starring Ben Stiller and Colin Farrell,...

European sales, production and finance company mk2 films has announced a multi-year slate financing deal with investment fund manager Ipr.Vc, which will provide “significant financial backing for a slate of future projects”.

The French firm did not divulge details of the value of the deal or how many projects it was projected to include, but said Ipr.Vc’s financial support would enable it to deliver a robust slate of projects and further strengthen “its status as a leading force in auteur-driven cinema”.

“We are thrilled to work with Ipr.Vc and its experienced management team, and to have found the perfect partners to allow us to scale our efforts while maintaining the artistic integrity that defines mk2 films and our commitment to bold, visionary filmmaking,” mk2 films CEO Nathanael Karmitz and Managing Director Fionnuala Jamison said in a joint statement.

Recent mk2 films successes include Justine Triet’s Oscar-winning Anatomy of a Fall,...

Paris-based sales, production and finance outfit mk2 Films has signed a multi-year financing deal with investment fund manager Ipr.Vc for a slate of upcoming productions and acquisitions titles.

The collaboration will boost mk2 Films’ robust slate as it scales up its international expansion and foray into English-language projects.

Helsinki and London-based investment fund manager Ipr.Vc has raised over $200m and backed more than 50 productions across film and television.

The company founded in 2014 has long-term partnerships with several US and European producers including A24, XYZ Films and animation studio Gigglebug Entertainment.

Mk2 Films’ auteur-driven slate includes Andrew Haigh’s Belly Of The Beast,...

French production and sales outfit mk2 films has signed a multi-year financing deal with the Finnish private equity fund Ipr.Vc to bankroll a slate of new projects, the two companies unveiled on Thursday.

The new capital will come in handy for mk2, which is looking to build on recent crossover success, including its co-productions The Worst Person in the World from director Joachim Trier, and Céline Sciamma’s Portrait of a Lady on Fire, as well as Justine Triet’s Oscar-winning Anatomy of a Fall and Molly Manning Walker’s How to Have Sex, both of which mk2 sold worldwide.

In Cannes this year, mk2 unveiled its most ambitious slate ever, with several English-language projects, including Belly of the Beast, Andrew Haigh’s All of Us Strangers follow-up, starring Ben Stiller and Colin Farrell, and The Zellner Brothers’ Alpha Gang starring Cate Blanchett. Among its features already in production include Trier’s Sentimental Value,...

UK spend for film productions for the first quarter (Q1) of 2024 was £211m, 45% lower than the £381m reported in the first three months of 2023, according to figures published by the British Film Institute (BFI).

For Q1 2024, the total number of films that started production was 22, which is 19 fewer than the 41 reported for Q1 2023 at this stage last year.

Giant, starring Pierce Brosnan and Amir El-Masry and produced by the UK’s Tea Shop Productions and US’s AGC Studios, began production in Leeds at the end of April, having re-located its shoot to the UK after the unveiling of the...

Exclusive: On the heels of her acclaimed directorial debut Passing, Rebecca Hall has found her next filmmaking vehicle in Four Days Like Sunday, a mother-daughter drama inspired by her own history, which she’s written to direct and will star in for See-Saw Films.

Set in the mid 1990s, the film follows 12-year-old Jane as she begins to rebel against her role as proxy-carer for her mother Sylvia (Hall), a recently divorced and ever so slightly fading Broadway diva. During a long weekend break between concert dates, Sylvia hosts Benton, Chris and Rahim, three male dancers from her current tour, at her anachronistically grand country house. She is also expecting the arrival of Dale, her handsome younger boyfriend. As Jane does her best to protect her mother from everything that threatens to disturb her delicate equilibrium, she moves quietly from childhood into something else-wiser, freer, and more alone.

Four Days...

Hollywood star Benedict Cumberbatch has signed to star in Dylan Southern’s adaptation of Max Porter’s acclaimed novel ‘Grief is the Thing With Feathers’.

The story follows a father and his two young sons dealing with the sudden death of their wife and mother, reports ‘Deadline’.

Cumberbatch will play a young father whose hold on reality crumbles following his wife’s death as a strange presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons.

This mysterious creature, known as ‘Crow’, seemingly brought to life from the pages of his work as an illustrator, becomes a very real part of all their lives, ultimately guiding them towards the new shape family must take.

As per ‘Deadline’, the feature adaptation, entitled ‘The Thing With Feathers’, is produced by Andrea Cornwell with SunnyMarch’s Adam Ackland and Leah Clarke. The script was developed with Film4,...

Exclusive: Benedict Cumberbatch has signed to star in Dylan Southern’s adaptation of Max Porter’s acclaimed novel Grief is the Thing With Feathers, about a father and his two young sons dealing with the sudden death of their wife and mother.

Cumberbatch will play a young father whose hold on reality crumbles following his wife’s death as a strange presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons.

This mysterious creature, known as “Crow,” seemingly brought to life from the pages of his work as an illustrator, becomes a very real part of all their lives, ultimately guiding them towards the new shape family must take.

Related: Cannes Film Festival Full Coverage

The feature adaptation, entitled The Thing With Feathers, is produced by Andrea Cornwell with SunnyMarch’s Adam Ackland and Leah Clarke. The script was developed with Film4,...

To celebrate the cinema release Meet Me In The Bathroom, an immersive journey through the New York music scene of the early 2000s, we have a special bundle to giveaway for 2 lucky readers. A bundle includes a film T-shirt, a cinema poster and the book by Lizzy Goodman that inspired the film.

Featuring never-before-seen footage of iconic artists including Yeah Yeah Yeahs, The Strokes, Interpol and LCD Soundsystem the film tells the story of how a new generation kick started a musical rebirth for New York City that reverberated around the world.

Inspired by the book by Lizzy Goodman and directed by the award-winning filmmakers behind “Shut Up And Play The Hits” and “Blur: No Distance Left to Run” – Dylan Southern and Will Lovelace – Meet Me In The Bathroom is the definitive film about the last great romantic age of Rock ‘n’ Roll, featuring some of the biggest personalities and hits,...

’65’ came in third place for Sony in its opening weekend.

Rank Film (distributor) Three-day gross (Mar 10-512 Total gross to date Week 1. Creed III (Warner Bros) £2.7m £9.4m 2 2. Scream VI (Paramount) £2.4m £3m 1 3. 65 (Sony) £1.3m £1.3m 1 4. Puss In Boots: The Last Wish (Universal) £902,045 £23.2m 6 5. Ant-Man And The Wasp: Quantumania (Disney) £722,279 £18.3m 4

Gbp to Usd conversion rate: 1.21

Michael B. Jordan’s Creed III continued strongly in its second weekend at the UK-Ireland box office, taking £2.7m for Warner Bros, and beating Paramount’s three-day takings for new opener Scream VI.

Creed III’s total now boasts £9.4m and it looks...

It’s the turn of the century. New York’s music scene is flatlining. Enter The Strokes, all surly insouciance, torn denim and tattered Converse. Theirs is an electrifying din; mixing distorted vocals with spindly guitars, it’s the defibrillator that the rock ’n’ roll scene so badly needs. From grimy graffiti-covered toilet stalls in dingy dive bars, these five New Yorkers stumble bleary-eyed out onto the biggest stages on the planet.

In Meet Me in the Bathroom, a new documentary based on journalist Lizzy Goodman’s 2017 book of the same name, directors Dylan Southern and Will Lovelace journey back to this strange and distant land. They return with a treasure trove of grainy archive footage capturing the creative upheaval that produced era-defining bands, including Yeah Yeah Yeahs, LCD Soundsystem, Interpol, TV on the Radio, and The Moldy Peaches. “Those bands built a scene in a really DIY way, without...

Sony’s ’65’ and Universal’s ’Champions’ are also new this weekend.

This weekend’s widest opener at the UK-Ireland box office is Scream VI, the latest offering from the iconic horror franchise, hitting 624 locations for Paramount.

It is slightly up on locations to Scream – the fifth film in the slasher series – which opened to an impressive £2.5m from 622 sites in January 2022, at an average of £3,955, making it the highest-performing horror title since the pandemic at the UK-Ireland box office.

Recent horrors to do well in the territory includes Universal’s M3GAN, the second best-performer for the genre since the pandemic,...

Universal Pictures and Dogwoof have debuted the trailer for the music documentary ‘Meet Me in the Bathroom’.

The doc is an immersive journey through the New York music scene of the early 2000s, featuring never-before-seen footage of iconic artists including Yeah Yeah Yeahs, The Strokes, Interpol and LCD Soundsystem. Set against the backdrop of 9/11, the film tells the story of how a new generation kick-started a musical rebirth for New York City that reverberated around the world.

Inspired by the book by Lizzy Goodman, the film is constructed entirely from audio interviews and raw, contemporaneous archives; including the personal archives of the featured artists and their contemporaries, found footage, Dv tapes unearthed from the shelves and storage units of New York music fans, cultural artefacts of a time and place on the cusp of seismic change.

The award-winning filmmakers behind “Shut Up And Play The Hits” and “Blur: No Distance...

The best scene in Meet Me In the Bathroom, the excellent new documentary on the rock & roll scene that slouched into New York in the beginning of the 21st century: a parking lot under the Williamsburg Bridge, Brooklyn, Labor Day weekend, 2002. An afternoon punk show, maybe semi-quasi-not-illegal. The Yeah Yeah Yeahs are playing; so are the Liars and Oneida and the Rogers Sisters. The parking lot is packed with kids, crammed onto roofs, balconies, the nearby bridge. Neighbors stare out of apartment windows. I’m down in the crowd. In the footage here,...

Indie distributor Utopia, currently in theaters with Holy Spider, anticipates music documentary Meet Me In The Bathroom will be its biggest weekend opening to date.

It’s holding onto numbers for Sunday from one-night premieres this past week in LA at the Fonda and in NY at Webster Hall with live performances by The Moldy Peaches, Adam Green, Wah Together and special guests Tim Heidecker and Jim Jarmusch. This weekend, the event film by Dylan Southern and Will Lovelace, co-produced by Vice, Xtr and Pulse Films, opens at the IFC Center and Los Feliz with multiple shows sold out. Films and presales speak “to the growing 2000s nostalgia, but also the iconic impact of the bands featured in the film and their continued artistry and output,” said marketing chief Kyle Greenberg.

This early 2000s NYC indie rock scene immersion acquired out of Sundance expands to 150 screens Nov. 8 for one-night engagements...

Was the last rock renaissance really in New York City in the aughts? That’s the claim filmmakers Dylan Southern and Will Lovelace make with their documentary adaptation of music journalist Lizzie Goodman’s book “Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011.”

This scuzzy, dreamy nonfiction greatest hits compilation prefers lyricism to reportage, with testimony told entirely in voiceover instead of talking heads. It’s also entirely a montage of on-the-fly found footage — of concerts, early interviews, Courtney Love flashing her boobs to a crowd of frothing onlookers during her 24-hour MTV takeover — and . The Strokes, The Yeah Yeah Yeahs, the Moldy Peaches, James Murphy, and Interpol all get significant play here, with the film going back to their DIY roots in Lower Manhattan — but leaves us hanging from there. In other ones, “Meet Me” is music to the ears of their...

If you spent much of October delving into a horror-movie marathon, November presents the perfect opportunity to catch up on new releases from last month you may have missed and are now expanding or in wider circulation—including Decision to Leave, Aftersun, TÁR, All That Breathes, Armageddon Time, The Banshees of Inisherin, and The Novelist’s Film. This month has its own formidable slate, from late-period auteur offerings to ambitious gambles to striking first-time features. Check out our picks to see below.

15. Causeway (Lila Neugebauer; Nov. 4)

Jennifer Lawrence’s sole outing this year is Causeway, which comes from first-time director Lila Neugebauer. As C.J. Prince said in his review, “It comes as a bit of a surprise to see how jarring Jennifer Lawrence’s presence is in Causeway, her new film directed by first-time filmmaker Lila Neugebauer. A subdued character drama about a soldier recovering back home after suffering a brain injury in Afghanistan,...

The Strokes find themselves in the midst of a hurricane of hype in a new clip from the upcoming documentary, Meet Me in the Bathroom.

Inspired by Lizzy Goodman’s 2017 book of the same name, the film chronicles New York City’s early-2000s indie rock boom, of which the Strokes were a central part. Set to the band’s 2001 staple, “Last Nite,” the new clip features an array of footage from the Strokes’ breakthrough moment, with some wild shows and plenty of intriguing archival bits of the band touring the U.

New York, a city responsible for bands such as The Velvet Underground, Blondie and Ramones, was a cultural wasteland by the late 90s and the wider music scene was pumping out shlock like Limp Bizkit and Hoobastank.

As Adam Green says in the opening scenes of Meet Me In The Bathroom, a documentary based on Lizzy Goodman’s oral history of nYc’s musical rebirth, “Maybe New York wasn’t the kind of city anymore that produces iconic bands”.

Then came The Strokes, Yeah Yeah Yeahs, TV on the Radio, LCD Soundsystem and many more over the next ten years, turning the Lower East Side and Brooklyn into hipster havens.

I remember the excitement when The Strokes, a gang of good-looking skinny boys with filthy hair and a filthier attitude, broke, in part thanks to the British music press, as I hustled for a copy of their Rough Trade debut...

Loosely based on the oral history by journalist Lizzy Goodman, Meet Me In The Bathroom attempts to chronicle indie rock at the turn of the century when bands like The Strokes and the Yeah Yeah Yeahs gave New York a new lease of life. Goodman’s book is an epic tome but Dylan Southern and Will Lovelace pare it down to a few, easily digestible strands, also spending time on TV On The Radio, Interpol and LCD Soundsystem, whose mouthpiece James Murphy proves the biggest personality here, a raconteur in the classic New York scenester mould.

As with Goodman’s book, the New York setting is inseparable from these artists. An early sequence flashes on the city’s earlier luminaries, from Lou Reed to Wu Tang Clan’s Odb, a history these bands were overtly familiar with. But where Goodman offered...

The birth of The Strokes, LCD Soundsystem, Yeah Yeah Yeahs, Interpol, The Moldy Peaches, The Rapture, TV On The Radio, Liars, and more bands integral to the 2000s NYC indie music scene gets captured in the new documentary Meet Me in the Bathroom. Adapted from Lizzy Goodman’s book by directors Dylan Southern and Will Lovelace, the archival documentary will open on November 4th at the IFC Center in New York and the Los Feliz Theatre in Los Angeles, then have one-night-only nationwide screenings on November 8, followed by a Showtime streaming premiere on November 25. Ahead of that release, the first trailer and poster have arrived.

David Katz said in his review, “Meet Me in the Bathroom, adapted from Lizzy Goodman’s well-received oral history published in 2017, reckons with this somewhat but still seems designed as a nostalgia piece, a reminder, and maybe a reintroduction to a current generation of music...

"We felt like we were going to take over the world." Utopia has revealed a trailer for a documentary film titled Meet Me in the Bathroom, which originally premiered at the 2022 Sundance Film Festival earlier this year. Most docs about punk or rock scenes are about how crazy it was in the 80s or 90s. But this one goes right into the new millennium to tell more stories of bands!! Meet Me in the Bathroom is an immersive journey through the New York music scene of the early 2000s. A new generation kick-started a musical rebirth for New York City that reverberated around the world. Inspired by Lizzy Goodman's bestselling book of the same name, directors Dylan Southern and Will Lovelace (Shut Up and Play the Hits) is an exploration of myth and music, time and place that tells the story of how a new generation kickstarted a musical...

Post-9/11 NYC was a music scene all its own, led by bands like The Strokes, The Yeah Yeah Yeahs, and LCD Soundsystem, among others. And music journalist Lizzy Goodman chronicled it in her 2017 book, “Meet Me In The Bathroom: Rebirth And Rock And Roll In New York City 2001.”

Read More: ‘Meet Me In The Bathroom’ Review: NYC 200s Rock Rebirth Doc Is Too By The Numbers [Sundance]

Now, Goodman’s book gets the documentary treatment, thanks to Dylan Southern and Will Lovelace, directors of the LCD Soundsystem doc “Shut Up And Play The Hits.” “Meet Me In The Bathroom” brings Goodman’s extensive research, including 200 original interviews, to the big screen in a visceral way.

Continue reading ‘Meet Me In The Bathroom’ Trailer: Sundance Doc Charting Post-9/11 NYC Rock Scene Hits Showtime On November 25 at The Playlist.

“Sounding good and having a good time.” On Thursday, Utopia released the trailer for Meet Me in the Bathroom, an upcoming Showtime documentary inspired by Lizzy Goodman’s book of the same name, about the wild alt-rock music scene that blew up in New York City in the early 2000s.

“People went crazy for it,” says one voice in the trailer. “Suddenly, there were events everywhere. It all happened so fast,” adds another.

The documentary captures the rise of bands including The Strokes, LCD Soundsystem, Yeah Yeah Yeahs, Interpol, The Moldy Peaches,...

Utopia and Showtime have partnered to acquire “Meet Me in the Bathroom,” the documentary film about the early 2000s New York City rock and roll scene that made its premiere at this year’s Sundance.

Will Lovelace and Dylan Southern directed the film that’s based on the 2017 book by Lizzy Goodman. Goodman’s book is a comprehensive oral history of the bands that redefined the rock scene in the early 2000s and late ’90s, including The Strokes, Interpol, The Yeah Yeah Yeahs, LCD Soundsystem and more. The film specifically is an assemble of archival footage from that era and forgoes talking head interviews, instead featuring rare early performances and behind the scenes looks at NYC’s top bands.

Utopia will release the film theatrically in theaters later this year, and Showtime will air “Meet Me in the Bathroom” by the end of 2022.

Also Read:

Why ‘Meet Me in the Bathroom...

Utopia and Showtime have acquired the North American rights to Pulse Films’ “Meet Me in the Bathroom,” a documentary about the explosion of rock ‘n’ roll that helped define the early 2000s in New York City and ushered in a new generation of musical talent. The film, which is directed by Will Lovelace and Dylan Southern, premiered at the 2022 Sundance Film Festival. Utopia will release “Meet Me in the Bathroom” in theaters later this year. The film will air on Showtime at the end of 2022.

Based on the hit 2017 oral history of the same name by Lizzy Goodman, “Meet Me in the Bathroom” says it “tells the story of the last great romantic age of rock,” one that looks at the impact that bands like The Strokes, LCD Soundsystem, Yeah Yeah Yeahs and Interpol had on revitalizing the cultural life of a reeling, post-9/11 city. To tell its story of this pivotal moment in music,...

Considering the myriad of exciting topics and subtopics packed within the running time of Meet Me In The Bathroom -- Dylan Southern and Will Lovelace’s impressively dense adaptation of Lizzy Goodman’s loaded oral history of the New York music scene to emerge from the new millennium -- I found the film pretty challenging to review. (It didn't help that I also had covid.) Suffice it to say, as artifacts go, in this strange new age of hyper-documented reality, so much of which is written on the walls of this film, I think it's a pretty important chapter of the American rockumentary canon, if not a century-culminating bookend. It seems that eras are only truly defined in retrospect and, now that we’re finally able to unpack...

[Read the whole post on screenanarchy.com...]...

Adapting Lizzy Goodman’s novel of the same name, Will Lovelace and Dylan Southern’s Meet Me in the Bathroom captures the essence of late-90s, early-2000s New York, covering the periods right before and after 9/11. For primarily capturing the rise of the Strokes, Yeah Yeah Yeahs, and LCD Soundsystem, it represents a nostalgia for a time of independence, a moment in which an entire music scene could bloom out of near nothingness. Full of live concert footage and archival interviews, the documentary finds the two U.K.-based filmmakers embracing the shaggy, messy nature of the bands they’re depicting.

Ten years after their LCD Soundsytem concert doc Shut Up and Play the Hits, the directors assemble a mythological picture of New York, a city bursting at the seams with new musicians and a new wave of rock. Julian Casablancas of the Strokes and Karen O of the...

With nearly every feature film at the 2022 Sundance Film Festival reviewed, it’s time to wrap up the first major cinema event of the year. We already got the official jury and audience winners here, and now it’s time to highlight our favorites.

Our Sundance contributors have shared their top picks from the festival, also including a handful of shorts (with a more substantial shorts overview coming soon). Check out everything below and stay tuned to our site, and specifically Twitter, for acquisition and release date news on the below films in the coming months.

Mitchell Beaupre

1. Emily the Criminal (John Patton Ford)

2. After Yang (kogonada)

3. Speak No Evil (Christian Tafdrup)

4. God’s Country (Julian Higgins)

5. A Love Song (Max Walker-Silverman)

6. Resurrection (Andrew Semans)

7. Nanny (Nikyatu Jusu)

8. Happening (Audrey Diwan)

9. Emergency (Carey Williams)

10. Good Luck to You, Leo Grande (Sophie Hyde)

John Fink

1. The Worst Person in the World (Joachim Trier...

An accurate measure of great music would probably be connected to longevity. In other words the notion that an individual song or album will sound as rewarding after the 20th play as the first, or more relevantly for this documentary, as exciting 20 years after the more innocent days of 2002.

For the music and music scene on display in Meet Me in the Bathroom––a documentary chronicle of NYC’s turn-of-the-millennium indie-band boom directed by British duo Will Lovelace and Dylan Southern (who also made LCD Soundsystem study Shut Up and Play the Hits)––a vital attribute, as opposed to mere quality, is “cool.” And viewing this film conjures flicking leftwards, rather than rightwards, on your Facebook profile picture, cringing slightly at those low-resolution mementos from the mid-00s. If “good” is more arguable, the likes of the Strokes, Interpol, Yeah Yeah Yeahs, and LCD now seem conclusively uncool while the...

Bookended by a near-identical juxtaposition of sound and fury, directors Dylan Southern and Will Lovelace’s “Meet Me in the Bathroom” starts and ends like a messy, wannabe Jules Dassin cityscape film seen through a grunge filter. “Manhattan crowds with their turbulent musical chorus, Manhattan faces, and eyes, forever for me,” our narrator reads as we see riotous anger take to the streets. Following the evolution and rise of several now-legendary groups (in select circles) such as The Strokes, Interpol, TV on the Radio, the Yeah Yeah Yeahs, and LCD Soundsystem, ‘Bathroom,’ chronicles the journey of those in a musical movement who felt they were “slipping out of existence” and “didn’t have a place to play,” finding new direction and fame with the rise of the “anti-folk scene” in New York spots like the Mercury Lounge and Sidewalk Café.

Continue reading ‘Meet Me In The Bathroom’ Review: NYC 2000s...

There’s a montage early on in Dylan Southern and Will Lovelace’s documentary “Meet Me in the Bathroom” that is bound to give any geriatric millennial pause. The year is 1999. It’s New Year’s Eve in New York City. President Bill Clinton is speaking on television, full of optimism for the new century, while doomsday preppers stock up on ammo in anticipation of the Y2K bug plunging the world into a technological dark age. With the Twin Towers looming peacefully in the background and nary a cell phone in sight, five Manhattanites barely out of their teens are poised to emerge as the saviors of rock and roll, which as far as anyone knows will continue to occupy the center of popular music for years to come. Was that really that long ago? Were we ever so young?

Offering a vivid time capsule of New York rock...

It’ll be a truly international Midnight section for 2022 with the half dozen offerings. We got representation from Spain and Carlota Pereda’s Piggy, Denmark in Christian Tafdrup’s Speak No Evil, Finland’s Hanna Bergholm (Hatching), the United Kingdom’s Dylan Southern & Will Lovelace (Meet Me In The Bathroom), Canada’s Monia Chokri (Babysitter) and will be opening with the unique American offering with Mimi Cave’s Fresh which stars Daisy Edgar-Jones opposite Sebastian Stan.

Babysitter / Canada

(Director: Monia Chokri, Screenwriter: Catherine Léger, Producers: Martin Paul-Hus, Catherine Léger, Pierre-Marcel Blanchot, Fabrice Lambot) — After a sexist joke goes viral, Cédric loses his job and embarks on a therapeutic journey to free himself from sexism and misogyny.…...

Prolific producer also discusses new Rose Glass feature, a documentary and TV projects.

One of the few UK titles selected for this year’s Sarajevo Film Festival is Rose Glass’ psychological horror Saint Maud.

Programmed in the Kinoscope Surreal sidebar, the film was feted in Toronto but has been stuck in limbo due to the Covid-19 crisis, which saw cinemas close around the world.

“Just to see the brakes going on it, of course, it is frustrating,” said Saint Maud producer Andrea Cornwell. “We were days away from getting on a plane and doing a Q&a tour around the States when lockdown happened.

Aziz Ansari is coming back to TV screens. And soon.

In a surprise announcement, Netflix revealed on Monday that the latest stand-up special from the “Master of None” co-creator will be dropping Tuesday, July 9. “Aziz Ansari Right Now,” his fifth comedy special, was filmed as part of the Brooklyn performances of his ongoing international tour, “Road to Nowhere.”

It’s Ansari’s first project available to the public since the release of “Master of None” Season 2. Shortly after the awards circuit tour ended in early 2018, a controversial article detailing sexual misconduct put the show and Ansari’s career on hiatus. According to reports from those same Brooklyn shows back in May, Ansari addresses those allegations as part of his hour-long set. Earlier shows in the tour, even when not referring to the incident directly, did seem to showcase a contrite Ansari, even when couched in a comedy context.

Spike Jonze directed “Aziz Ansari Right Now,...

Exclusive: Ben Silverman and Howard Owens’ Propagate is joining forces with blackpills (Bonding), the Paris-based production studio specializing in premium, short-form scripted content aimed at millennials, to develop and distribute Ya content. In addition to a distribution partnership, the companies will be co-developing an original slate of premium content to take to market together.

Blackpills, a digital upstart founded in 2017 by co-ceos Patrick Holzman and Daniel Marhely, focuses on content aimed at young audiences for whom smartphones are the first screen with an emphasize on themes such as identity, coming of age, dating and digital addiction.

The partnership announcement follows the recent release of blackpills’ first Netflix original series, Bonding, from Rightor Doyle (Barry). The seven-episode short-form dark-comedy series stars Zoe Levin and Brendan Scannell, and was co-produced by Anonymous Content.

Blackpills’ latest anthology series, Do Not Disturb, produced in association with Pulse Films, premieres at this year’s Cannes Film Festival.

One of the favorites heading into this year’s Canneseries Short-Form Competition has to be the star-studded anthology series “Do Not Disturb,” spearheaded by the U.K.’s Pulse Films in association with Blackpills Studio.

Michael Haussman and Larry Volpi created the series, and its nine, 10-minute episodes were written by the two along with Olivia Poulet, Mike O’Leary, Nida Manzoor and Davey Spens.

“Do Not Disturb” takes the audience behind the little plastic placards we hang on hotel-room door handles when we need a nap, want to be left alone, or perhaps up to something a bit more adult, as is often the case in this show.

Some episodes are comedies, some terrifying and others sultry, but each explores the darker side of humanity that is often kept behind closed doors.

The series’ directors include Haussman, Jude Law, Jake Chapman, Mounia Akl, Dylan Southern, Will Lovelace, Zoe Casavettes and Matthew Huston.

Now that he’s done ruining “Star Wars” obsessives’ childhoods, Rian Johnson has chosen to wreak havoc on another fandom: LCD Soundsystem. The filmmaker, who delights in crushing nerds’ dreams and definitely isn’t just a director trying to do good work, has helmed the video for the beloved band’s song “oh baby.” He’s aided in that devious scheme by Sissy Spacek and David Strathairn, and for now the clip is only available to stream on Tidal, but you can avail yourself of a truncated version below.

Featuring a teleportation device and described as “a devastatingly romantic journey of discovery, tragedy and eternal love,” the video accompanies LCD Soundsystem’s 2017 album “American Dream” — their first since they disbanded in 2010. “My goal would be that it works as a video for the song and the song works as a good soundtrack of the film. Rather than a video that serves the song,...

In Dawn of the Planet of the Apes, 10 years have passed since the events of the 2011 film, which ends with Caesar leading a band of genetically enhanced apes into the redwood forests near San Francisco while an infected airline pilot sets off for Paris, accelerating the simian flu plague that will ultimately threaten the human race.

In the new film, which opens July 11, Caesar’s growing tribe is forced to confront a desperate band of human survivors after a decade of pestilence, disorder, and civil war. But how exactly did that breakdown occur, leaving mankind on the precipice of extinction and vulnerable to ape supremacy?...

20th Century Fox have done some fine work recently in world building for their forthcoming films. One need only look at the Ted talk given by Guy Pearce’s Peter Weyland and the ‘unboxing’ video for Michael Fassbender’s David to see how dedicated they were, and how much expense they went to, in order to bring us back to the world of Alien for Prometheus.

Now we are on a return course to the Planet of the Apes series with Dawn rising in just a few weeks time. Though we know about the beginning of war and the plague Matt Reeves’ film picks up the story ten years after the events of Rise, and much has changed in that time.

20th Century Fox commissioned Motherboard to create a series of short films to bridge the gap between the films Rise and Dawn of the Planet of the Apes, and...

Exclusive: Music giant to rep rights to Pulse’s originally commissioned film and TV music, TV shows in the works.

Sony/Atv Music Publishing has inked a deal to administer Pulse Films’ originally-commissioned film and TV music.

The rights tie-up between buzzed-about London-based outfit Pulse – producers of Gael Garcia Bernal doc Who is Dayani Cristal? and upcoming Nick Cave doc 20,000 Days on Earth – and music kingpin Sony/Atv, will include soundtrack rights to Pulse’s upcoming C4 First Cuts doc Payday directed by Fred Scott and Nick Davies (Fred & Nick), who made the Take That doc Look Back, Don’t Stare, and the score for a primetime series for a UK broadcaster, due to air next year.

At Sony/Atv, James Carslake and Jon Pugh will look to grow Pulse’s music publishing catalogue, and find creative opportunities for the company’s artists across their projects.

Pulse’s roster of directors includes Shut Up and Play the Hits and No Distance Left to Run...

Aziz Ansari's new comedy special "Buried Alive" arrives exclusively on Netflix this Friday, November 1st at 12:01am Pt, a stand-up concert film shot at the Merriam Theater in Philadelphia during the "Parks and Rec" star's 2013 tour. The writer, executive producer and star of the special (which was directed by Will Lovelace and Dylan Southern of "Shut Up and Play the Hits") joined members of the press on a call earlier this month. Having immensely matured since his last specials, "Dangerously Delicious" and "Intimate Moments for a Sensual Evening," Ansari has an entire new slew of topics to discuss and plenty more ground to cover. Ansari, now 30 years old, has entered a new stage in his life. His stand-up no longer solely consists of stories of awkward encounters or hanging out with Kanye West. Now the comedian gives insight on his personal life, pending adulthood, babies and love in the modern era.

Netflix managed to garner a few Emmy nominations in its first year producing original series, and the company's announced its intentions to commission its own films as well. But the streaming giant has also been getting into the comedy biz, adding exclusive standup specials from John Hodgman, Russell Peters and Marc Maron. Netflix's latest and most high-profile special comes from "Parks and Recreation" star Aziz Ansari -- "Buried Alive," which was filmed live at the Merriam Theater in Philadelphia, "Buried Alive" is Ansari's third stand-up special, recording during his 2013 worldwide tour, and it finds the actor and comedian taking on issues like adulthood, babies, relationships and marriage, which he addresses in the clip below. Directed by Will Lovelace and Dylan Southern of "Shut Up and Play the Hits," "Aziz Ansari: Buried Alive" will premiere on Netflix on Friday, November 1st at 12:01 Am Pt.

★★★☆☆ There's no denying that Shane Meadows' latest film, The Stone Roses: Made of Stone (2013) - which details the impact of the Manchester-based band - is going to divide opinion. Fans of the group, which broke through in the late eighties with tremendous success, will relish in the multitude of archive interviews and gig footage. Meadows' boyish glee and borderline obsession translates into palpable energy that thrusts you through the 90-minute doc. Early on in the film, Meadows recounts how he missed out on attending the now-famous Spike Island gig after dropping a tab of acid and giving his ticket away to a stranger.

From here on out, Made of Stone is less concerned with the finer biographical details of the band and more interested in Meadows making amends for his teenage error. Swiftly dropping the a-typical music documentary structure we actually receive relatively little information regarding the formation of the band.

In 2012, the Twitch family has grown even more global. With a line-up of contributors that stretches right around the planet, we've had the means to see a huge proportion of the new films that have emerged in the past 12 months from some of the world's most far-flung regions - and we want to tell you all about them! Whether they be the ones we love, the ones we hate, or all those that fall somewhere in between, we want to share. So enjoy Twitch's Best Reissue or Special Edition of 2012!Ryland Aldrich - Festivals Editor Shut Up and Play the Hits (Oscilloscope Laboratories) The DVD/Blu release of Will Lovelace and Dylan Southern's LCD Soundsystem documentary Shut Up and Play the Hits (my review) is...

[Read the whole post on twitchfilm.com...]...

At the pinnacle of the band’s critical and financial success, the decision to lay LCD Soundsystem to rest was and remains a conundrum. James Murphy, the creative mind behind the band, started making music under the LCD guise in his 30s with no expectations other than to have some fun, but when his dance-centric tunes started to catch the public ear, he decided to form a band that could perform his songs live. Years later, putting a massive bookend on the project, Murphy and the crew booked Madison Square Garden for their final show. With the Sundance preemed Shut Up And Play The Hits, directors Will Lovelace and Dylan Southern documented not only LCD Soundsystem’s final live performance, but managed to construct a highly conflicted portrait of Murphy over the 48 hours prior to the event. The question isn’t whether or not his final show will be a success,...

★★★★☆ Following the success of their 2010 Blur concert film No Distance Left to Run, British directing duo Dylan Southern and Will Lovelace turn their attention to another historic rock gig with a legion of grateful fans and a set-list of modern classics - LCD Soundsystem's final performance. Shut Up And Play The Hits (2012), a Sundance sensation, essentially sets the gold standard by which future gig documentarians ought to follow.

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On 2nd April 2011, LCD Soundsystem played its final show at Madison Square Garden. LCD frontman James Murphy (see our interview with the man himself here) made the conscious decision to disband one of the most celebrated and influential bands of its generation at the peak of its popularity, ensuring that the band would go out on top with the biggest and most ambitious concert of its career. The instantly sold out, near four-hour extravaganza did just that, moving the thousands in attendance to tears of joy and grief, with New York magazine calling the event “a marvel of pure craft” and Time magazine lamenting “we may never dance again.” The gig saw LCD supported by post-punk group Liquid Liquid as well as a handful of special guests including The Juan MacLean and members of Arcade Fire and Hot Chip.

Now we’re offering you the chance to win one of three copies of the DVD!

Anna Karenina (12A)

(Joe Wright, 2012, UK/Fra) Keira Knightley, Kelly Macdonald, Jude Law, 130 mins

Bringing period drama up-to-date, Wright's radical reinterpretation of Tolstoy's tragedy stages the action almost entirely in a theatre – backstage areas, red curtains and all. It's a smart framing device for the Imperial Russia on display, even if the stylisation puts emotion at a slight remove, not helped by the love-or-loathe leads. But it's still a sight to behold, with rich colours, doll's-house sets and costumes to die for (spoiler alert!).

Dredd (18)

(Pete Travis, 2012, UK) Karl Urban, Olivia Thirlby, Lena Headey, Rakie Ayola. 95 mins

Aiming to please old 2000Ad fans rather than convert new ones, this post-apocalyptic sci-fi has all the violent justice and jutting-chin action you'd want, with some visual flourishes to make up for a straightahead plot.

Lawless (18)

(John Hillcoat, 2012, Us) Tom Hardy, Shia Labeouf, Guy Pearce. 116 mins

Cops, gangsters and a family of moonshine...