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Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSThe Souvenir Part II.Equity, the British entertainment industry trade union, has greeted the incoming Labour government—the first in fourteen years, having won in a landslide—with demands for reforms to the government’s arts funding.Meanwhile, across the Channel, snap French parliamentary elections resulted in an upset victory for the leftist coalition Nouveau Front Populaire over Marine Le Pen’s far-right National Rally, which had promised to privatize, at least partially, the national television and radio broadcaster, amid other cutbacks.IATSE has released more details regarding its tentative contract with AMPTP, including allowances and limitations around the use of artificial intelligence.Teamsters Local 399 is still bargaining with AMPTP and may still be far from resolving issues...

Demon Slayer Artist LiSA Hopes to Perform a Spy x Family Song in the Future - Main Image

LiSA is already one of the most well-known singers in the world of anime, as she has performed lots of iconic opening themes for big franchises. In the future though, LiSA revealed that she hopes to perform a Spy x Family song.

In our recent interview with LiSA, we got to talk with her about her new track for The Irregular at Magic High School season 3.

There, she also mentioned her wish to perform the next Spy x Family song. Plus, she also talked about her surprising musical inspirations, which can give us a clue as to what a potential Spy x Family track would sound like.

LiSA Reveals Her Surprising International Inspirations

When it comes to anime singers, LiSA is no doubt one of the most popular as most anime fans...

Phoebe Bridgers, Julien Baker, and Lucy Dacus are taking their supergroup boygenius on the road in celebration of their great debut album, the record. They started things off with a warm-up show Wednesday at the Fox Theater in Pomona, California, in a set that included the live debut of many of the album’s songs.

The trio began the show with a shortened version of “Without You Without Them” before going straight into the record highlight “$20” — and they just might be braver than the marines for pulling off that guttural scream so early in the night.

From there, boygenius played every song on the new album, including instant fan-favorites like “Emily I’m Sorry,” “True Blue,” and “Not Strong Enough.” Fans of the band’s still-great 2018 EP will be happy to know that the main part of their set also included “Me & My Dog,” “Souvenir,” and “Salt in the Wound,...

Boygenius couldn’t wait for Coachella, or their own tour, to deliver live debuts for the newly released songs on their album The Record. Instead, the trio made of Phoebe Bridgers, Lucy Dacus, and Julien Baker played through most of the album during a warmup show at the Fox Theater in Pomona, California.

Phoebe during her verse in $20 tonight pic.twitter.com/pdACSW9R7E

— phoebe on tour (@bridgersontour) April 13, 2023

The official setlist for the night was a mix of old and new, split into three acts and an encore.

Exclusive: Following a competitive bidding war, Warner Bros TV has landed the Mac Smullen spec pilot Souvenir, Alaska. Carly Wray will exec produce and oversee development, while Lee Toland Krieger will exec produce and direct the pilot. Wbtv, where both have overall deals, had no comment on the project.

Sources say four other networks were chasing the pilot before Wbtv put in the winning bid. While plot details are being kept under wraps, sources close to the pilot describe it as a cross between a Stephen King and Michael Crichton story.

Wray has become one of the more seasoned producers in television working on such shows as Westworld, The Leftovers and Watchmen, for which she won an Emmy. She is repped by WME and Grandview.

Krieger’s past credits include You, Shadow and Bone and Superman & Louis. He is repped by WME and Anonymous Content.

The sale is the first for emerging writer Smullen,...

Archipelago (2010).On a pleasant afternoon in the Isles of Scilly, a family stand to have a photograph taken. Of the two grown-up children, their mother, and her friend, only the blond, curly-haired son has his face fully in the sunshine; he squints in the light. Edward, one of the central characters in Joanna Hogg’s second feature Archipelago (2010), is different from his mother Patricia and her sister Cynthia. He has “too much empathy,” according to his mother, and “always in an accusatory way,” his sister adds with a sneer. Virtuous Edward is about to go on a gap year to Africa, in that vague way that a gap year so often seems to be blithely to the continent rather than a particular place within it. Until then, he is spending some time with his family in an agreeably beige and blue country retreat, which is complete with a professional cook,...

“The film possessed me.”

That is how Tilda Swinton described how she came to star in “The Eternal Daughter,” her third pairing with director Joanna Hogg, and a sequel to their two previous collaborations, “The Souvenir” and “The Souvenir: Part II.”

The actress’ choice of words is fitting, since the new film is a ghostly, mysterious tale of a filmmaker, Julie, who’s caring for her elderly mother, Rosalind, in their family’s grand home in the country. Swinton reprises her “Souvenir” role as Rosalind and also takes on the role of Julie, who was played in the previous movies by Swinton’s own daughter Honor Swinton Byrne.

During a visit to TheWrap and Shutterstock’s Interview and Portrait Studio at the Toronto Film Festival, Swinton and Hogg discussed “The Eternal Daughter” with TheWrap’s Editor in Chief, Sharon Waxman, explaining that the idea for the film came from a deeply personal place.

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After the success of her paired portrait-of-the-artist features The Souvenir and The Souvenir Part II, British writer-director Joanna Hogg takes a stylistic swerve with The Eternal Daughter, a melancholy winter’s tale with horror elements.

It’s effectively a third chapter in the Souvenir story, one that jumps into the present day after the 1980s setting of Part II. This time, Tilda Swinton takes over the role of Hogg’s fictional avatar Julie (originally played by Swinton’s daughter, Honor Swinton Byrne) and also reprises the role of Julie’s contained, genteel mother Rosalind, affording the actor a chance to indulge her enthusiasm for complex hair and make-up disguises. The two women travel to a remote hotel in Wales for a sentimental journey, one that stirs up both happy and unhappy memories. In the end, it plays a little too often like an...

Venice film festival: Swinton plays both mother and daughter in a moving and disconcerting move into pseudo horror from the director of The Souvenir

There’s real intimacy and emotional generosity to this psychological mystery from Joanna Hogg – a personal movie which appears to come from the same universe as her earlier Souvenir films – or one very much like it.

It’s a ghost story whose purpose is something other than scaring you, a film about the enigma of your parents’ lives, their unknowable existences before you were born and indeed after you were born; that feeling that your parents are simultaneously as familiar as a pair of old slippers and yet also a Sphinx-riddle, withholding from you the meaning of your life and death. And perhaps the only way of cracking the code, solving the problem, is finally to become your mum or dad, to feel what they feel from the inside,...

A mysterious nighttime mist swirls through Joanna Hogg’s sorrowful, secluded “The Eternal Daughter.” It is pumped, in artificial, Hammer-horror puffs and plumes, across groves and gravel driveways. It snakes around gables topped with gargoyles, snags on hedges, rubs against dark, staring, possibly haunted windows. It shrouds the film the way the unspoken words, undefined guilt and unfulfilled duties that exist between maybe every mother and daughter can cloud the truth of their fraught, primal connection. And it is this grave film’s most apposite motif, in being beautiful and mood-making but vaporous: try to grasp it and your hand closes on nothing but a faint, damp chill.

Filmmaker Julie (Tilda Swinton), her aging mother Rosalind (Tilda Swinton) and Rosalind’s dog Louis (Tilda Swinton’s dog Louis) arrive in a white cab one foggy night at the remote Welsh hotel that Julie has booked for a stay over Rosalind’s December birthday.

Tilda Swinton is back on the Lido, this time with director Joanna Hogg’s Venice competition title The Eternal Daughter.

The ghost story charts the tale of a middle-aged daughter and her elderly mother (both played by Swinton) who must confront long-buried secrets when they return to their former family home, a once-grand manor that has become a nearly vacant hotel.

Shot in secret in Wales during lockdown, the project re-teams long-time friends Swinton and Hogg after the recent Souvenir films.

Venice Film Festival 2022 Photos

Swinton, sporting a shock of hair dyed a bright yellow — “It’s my honor to wear half of the Ukrainian flag,” she commented — said playing dual roles wasn’t the plan from the start. Rather, it was borne out of conversations that followed The Souvenir movies in which she played mother to her own real-life daughter. The mother and daughter characters in Eternal Daughter are likewise named Rosalind and Julie.

In a box-office ecosystem dominated by the Marvel Cinematic Universe, a $71 million domestic opening gross for “Eternals” ($171 million worldwide) is somewhat problematic.

The third Disney Marvel release in just over four months, it opened below “Black Widow” ($80 million) and “Shang-Chi and the Legend of the Ten Rings” ($75 million). Sony also opened “Venom: Let There Be Carnage” last month, to $90 million.

“Eternals” opening gross fell about 10 percent beneath already-skittish expectations. That may reflect ongoing uncertainty about theatrical exhibition recovery, but some common sense is in order.

Three top Marvel releases, plus “Venom,” in such a short window should mean a decrease in interest. In that context, $71 million is very much in range of normal.

That doesn’t even include the bad omens: the weakest reviews ever for an MCU release, social media dominated by controversy over two minor characters, limited interest from much of the core audience and a B Cinemascore — an all-time MCU low.

Halloween on a Sunday made a slow box office all but inevitable. Studios avoided programming top new films and created the self-fulling prophecy of a $66 million total, by far the lowest in the strongest month this year.

It represented 57 percent of the closest weekend in 2019, bringing the four-week comparative rolling average to 75 percent.

“Dune” (Warner Bros.) had a weaker than anticipated second weekend, with a 62 percent drop grossing $15.5 million. Halloween was expected to hurt but Denis Villeneuve’s film lacked the competition of a major opening.

Next weekend it will face the challenge of “Eternals.” Not only will they compete for attention in overlapping audiences, it will also grab nearly all premium presentation screens that accounted for more than 25 percent of the “Dune” total. Its domestic take so far is $69.4 million, worldwide $292 million. That’s respectable, but not yet at a level where this is assured of a profit.

The...

With all the hurry-up-and-wait backstage drama that went into finally greenlighting the sequel to a massive tentpole such as “Dune,” it feels like no small miracle that a postmodern movie memoir like “The Souvenir” gets to have a second part at all. But the double-sided conceit for director Joanna Hogg’s auto-fiction saga was baked in from the beginning.

Viewers who stayed through the end of the first film, one of 2019’s most acclaimed movies, might’ve caught the “insurance policy,” as Hogg called it in an interview with IndieWire, inscribed in the end credits: “Part II coming soon.” Hogg said that was her own personal self-guarantee. “The financiers weren’t going to tell me I couldn’t do it,” she said.

Like the best sequels, “Souvenir: Part II” heightens the stakes for its central character and adds a new layer to her journey. In that respect, the movie...

Selected last week for San Sebastian’s New Directors strand, the festival’s main sidebar, Turkish director Salman Nacar’s “Between Two Dawns” has confirmed distributors for France and Spain.

Sales agent Luxbox has also released a first trailer and poster for the film, both of which Variety obtained exclusively.

In France, the film’s release will be handled by Paris-based Condor Distribution, which opened Joanna Hogg’s “Souvenir” and Kelly Reichardt’s “First Cow” earlier this year. “Between Two Dawns” will be distributed in Spain by Bteam Pictures, one of the country’s top independent distributors which recently bowed Thomas Vinterberg’s “Another Round” and Fernando Trueba’s 2020 Cannes Label title “My Father.”

The film is Nacar’s debut feature and is described as a compelling ethical thriller in which Kadir, the youngest son of a textile factory owner, is thrown into a huge moral quandary after a workplace steamer accident at the plant.

Joanna Hogg’s semi-autobiographical film The Souvenir earned huge plaudits and was a critics’ favourite. Screening in Cannes in the Directors’ Fortnight section, the second part will surely have the sam eeffect and many will question why Hogg wasn’t a shoo-in for the competition.

The second part of this diptych begins with Julie (Honor Swinton Byrne) mourning the death of her heroin-addicted control freak boyfriend Anthony (Tom Burke). Everything we see is blanched of colour. It is springtime, but the only flowers we see are white, and the landscapes and buildings all share a faded, pasty quality.

With Anthony literally out of the picture (although not entirely), Hogg focuses her attention on characters who were more peripheral: Julie’s parents really come into their own here and are allowed more screentime as they coddle their daughter while she grieves and coax her back into her life. That very British,...