Cannes film festival
Taylor-Joy makes a fantastic action heroine, facing down a hilariously evil Chris Hemsworth in signature high-speed fights
‘My childhood! My mother! I want them back!” With this howl of anguish, young Furiosa, played by Anya Taylor-Joy, sets the tone of vengeful rage that runs through George Miller’s immersive, spectacular prequel to his Mad Max reboot from 2015. Once again, there are the crazily colossal and weird convoy-action sequences which fuse the notion of “chase” and “violent combat” into a series of delirious high-velocity contests between motorbikes, 18-wheelers and armed parascenders all attacking and shooting at each other while fanatically zooming in the same direction. The vehicles themselves are what makes the Mad Max movies so very strange. Many films are called “surreal”, but these strange, ritualistic gladiator-vehicle displays in the reddish-brown emptiness really do look like something by Giorgio de Chirico or Max Ernst.
Furiosa is the origin story of the glamorous,...
Taylor-Joy makes a fantastic action heroine, facing down a hilariously evil Chris Hemsworth in signature high-speed fights
‘My childhood! My mother! I want them back!” With this howl of anguish, young Furiosa, played by Anya Taylor-Joy, sets the tone of vengeful rage that runs through George Miller’s immersive, spectacular prequel to his Mad Max reboot from 2015. Once again, there are the crazily colossal and weird convoy-action sequences which fuse the notion of “chase” and “violent combat” into a series of delirious high-velocity contests between motorbikes, 18-wheelers and armed parascenders all attacking and shooting at each other while fanatically zooming in the same direction. The vehicles themselves are what makes the Mad Max movies so very strange. Many films are called “surreal”, but these strange, ritualistic gladiator-vehicle displays in the reddish-brown emptiness really do look like something by Giorgio de Chirico or Max Ernst.
Furiosa is the origin story of the glamorous,...
- 5/15/2024
- by Peter Bradshaw
- The Guardian - Film News
With the release of Alejandro G. Iñárritu’s “Bardo: False Chronicles of a Handful of Truths,” Netflix invited guests to experience the sights and sounds of the Academy Award-winning director’s most personal film.
Through a series of conversations, the audience learned more about the design and craft of the project and had the opportunity to view concept art, costumes, and pieces from the sets.
Daniel Giménez Cacho stars as Silverio Gama, a Mexican journalist and documentary filmmaker living in Los Angeles. Silverio finds himself on a surreal journey into memories and dreams when he returns to Mexico after many years away.
“Bardo, False Chronicles of a Handful of Truths” will stream globally on Netflix beginning December 16.
Cinematographer Darius Khondji agreed to work on the film without reading the script
Darius Khondji has worked on films from “Seven” to “Uncut Gems,” earning an Academy Award nomination for “Evita” in 1996. Sitting...
Through a series of conversations, the audience learned more about the design and craft of the project and had the opportunity to view concept art, costumes, and pieces from the sets.
Daniel Giménez Cacho stars as Silverio Gama, a Mexican journalist and documentary filmmaker living in Los Angeles. Silverio finds himself on a surreal journey into memories and dreams when he returns to Mexico after many years away.
“Bardo, False Chronicles of a Handful of Truths” will stream globally on Netflix beginning December 16.
Cinematographer Darius Khondji agreed to work on the film without reading the script
Darius Khondji has worked on films from “Seven” to “Uncut Gems,” earning an Academy Award nomination for “Evita” in 1996. Sitting...
- 12/12/2022
- by Karen M. Peterson
- Variety Film + TV
Backstage at the Valentino Haute Couture Spring 2020 collection with Hannelore Knuts and creative director Pierpaolo Piccioli Photo: Archivio Fotografico Paolo Di Paolo
Pier Paolo Pasolini, Luchino Visconti, Anna Magnani, Michelangelo Antonioni, Elizabeth Taylor, Richard Burton, Charlotte Rampling, Grace Kelly, Marcello Mastroianni, Rudolf Nureyev, Sophia Loren, Ezra Pound, Faye Dunaway, Monica Vitti, Giorgio de Chirico, Gina Lollobrigida, Tennessee Williams, Marlene Dietrich, Giulietta Masina, Simone Signoret, Yves Montand, Brigitte Bardot, Catherine Deneuve, Anita Ekberg, Vittorio De Sica, Alberto Moravia, and many others were photographed by Bruce Weber’s muse and subject of his latest documentary The Treasure Of His Youth: The Photographs Of Paolo Di Paolo, which starts with an overture of images and film clips. After putting his camera away for decades we see di Paolo return to shoot Pierpaolo Piccioli’s Valentino Haute Couture Spring 2020 collection.
Paolo di Paolo with Silvia di Paolo and Anne-Katrin Titze on Tennessee Williams: “I...
Pier Paolo Pasolini, Luchino Visconti, Anna Magnani, Michelangelo Antonioni, Elizabeth Taylor, Richard Burton, Charlotte Rampling, Grace Kelly, Marcello Mastroianni, Rudolf Nureyev, Sophia Loren, Ezra Pound, Faye Dunaway, Monica Vitti, Giorgio de Chirico, Gina Lollobrigida, Tennessee Williams, Marlene Dietrich, Giulietta Masina, Simone Signoret, Yves Montand, Brigitte Bardot, Catherine Deneuve, Anita Ekberg, Vittorio De Sica, Alberto Moravia, and many others were photographed by Bruce Weber’s muse and subject of his latest documentary The Treasure Of His Youth: The Photographs Of Paolo Di Paolo, which starts with an overture of images and film clips. After putting his camera away for decades we see di Paolo return to shoot Pierpaolo Piccioli’s Valentino Haute Couture Spring 2020 collection.
Paolo di Paolo with Silvia di Paolo and Anne-Katrin Titze on Tennessee Williams: “I...
- 12/7/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Writer/director Guillermo del Toro discusses a few of his favorite movies with Josh and Joe.
Show Notes:
Movies Referenced In This Episode
Nightmare Alley (2021)
Nightmare Alley (1947) – Stuart Gordon’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Drive My Car (2021)
Wicked Woman (1953) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairing
Guillermo del Toro’s Pinocchio (2022)
Modern Times (1936)
City Lights (1931)
The Great Dictator (1940)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review, Dennis Cozzalio’s Muriel Awards capsule review
Vertigo (1958) – Dan Ireland’s trailer commentary, Brian Trenchard-Smith’s review
The Man Who Would Be King (1975) – Josh Olson’s trailer commentary
Lawrence Of Arabia (1962)
The Young And The Damned (1950)
Gone With The Wind (1939)
The Golem (1920) – Glenn Erickson’s Blu-ray review
Sunrise: A Song Of Two Humans (1927)
Alucarda (1977)
Greed (1924) – Dennis Cozzalio’s Muriel Awards capsule review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
District 9 (2009) – John Sayles...
Show Notes:
Movies Referenced In This Episode
Nightmare Alley (2021)
Nightmare Alley (1947) – Stuart Gordon’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Drive My Car (2021)
Wicked Woman (1953) – Josh Olson’s trailer commentary, Randy Fuller’s wine pairing
Guillermo del Toro’s Pinocchio (2022)
Modern Times (1936)
City Lights (1931)
The Great Dictator (1940)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review, Dennis Cozzalio’s Muriel Awards capsule review
Vertigo (1958) – Dan Ireland’s trailer commentary, Brian Trenchard-Smith’s review
The Man Who Would Be King (1975) – Josh Olson’s trailer commentary
Lawrence Of Arabia (1962)
The Young And The Damned (1950)
Gone With The Wind (1939)
The Golem (1920) – Glenn Erickson’s Blu-ray review
Sunrise: A Song Of Two Humans (1927)
Alucarda (1977)
Greed (1924) – Dennis Cozzalio’s Muriel Awards capsule review
Taxi Driver (1976) – Rod Lurie’s trailer commentary
District 9 (2009) – John Sayles...
- 1/25/2022
- by Kris Millsap
- Trailers from Hell
“About Her,” which world premiered in International Competition this week at the Cairo Film Festival, began life as a short story, which director Islam El Azzazi penned in 2003. In 2017, he started adapting the story for the screen.
“The short story faded, somehow,” he says of the changes he made in the process. “I don’t see what’s happening on-screen as a fantasy; it somehow has its own reality.”
The Berlinale Talents alumni says that, initially, “I was refusing to write a screenplay. At the time, I had two long screenplays that I had spent six years trying to fund. I was trying not to get into that phase again.” So for the next year and a half, he would explain the project as scenes. “I think this helped develop a certain perspective that made the film organic somehow.”
When he got down to writing these scenes up in script format,...
“The short story faded, somehow,” he says of the changes he made in the process. “I don’t see what’s happening on-screen as a fantasy; it somehow has its own reality.”
The Berlinale Talents alumni says that, initially, “I was refusing to write a screenplay. At the time, I had two long screenplays that I had spent six years trying to fund. I was trying not to get into that phase again.” So for the next year and a half, he would explain the project as scenes. “I think this helped develop a certain perspective that made the film organic somehow.”
When he got down to writing these scenes up in script format,...
- 12/9/2020
- by Kaleem Aftab
- Variety Film + TV
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