MovieZorg

Asif Kapadia’s dystopian 2073 is inspired by Chris Marker’s La Jetée (1963).

British Council Film: 2073 Drama-documentary set in a dystopian future, inspired by Chris Marker’s 1962 French new wave film

Amos Gitai’s Why War takes as its starting point a 1931 exchange between Albert Einstein and Sigmund Freud.

Israeli Director Amos Gitai to Ask ‘Why War?’ in Next Project (EXCLUSIVE) Israeli director Amos Gitai's next project will be 'Why War?,' about a discussion between Albert Einstein and Sigmund Freud.

In Todd Phillips’s Joker: Folie à Deux, Joaquin Phoenix reprises his Oscar-winning turn as the laughing nihilist, only this time around, he’s teaming up with his new lover, Harley Quinn (Lady Gaga).

Joker: Folie À Deux | Official Trailer When you’re smiling, the whole world smiles with you. Joker: Folie À Deux – only in theaters and IMAX, October 4. From acclaimed w...

Halina Reijn (Bodies Bodies Bodies) directs Nicole Kidman as a high-flying CEO who falls for a much younger intern (Harris Dickinson) in Babygirl.

Nicole Kidman Seduces Harris Dickinson in A24’s Erotic Thriller ‘Babygirl’ — First Look Nicole Kidman and Harris Dickinson lead A24 erotic thriller 'Babygirl,' premiering at Venice 2024.

Toronto will screen Athina Rachel Tsangari’s Harvest, based on Jim Crace’s 2013 novel, as a Special Presentation—after it premieres in Venice. “Over seven hallucinatory days, a village with no name, in an undefined time and place, disappears,” writes Variety’s Leo Barraclough. Caleb Landry Jones and Harry Melling star as farmer Walter Thirsk and lord of the manor Charles Kent, “childhood friends about to face an invasion from the outside world: the trauma of modernity.”

Athina Rachel Tsangari’s ‘Harvest’ Heads the Match Factory’s Venice Slate Venice Film Festival competition title 'Harvest,' by Athina Rachel Tsangari, is one of three films at the festival represented by the Match Factory.

“Venice looks smashing,” tweets Jessica Kiang, “even if every single film is 418 minutes long.” She kids, but when Venice artistic director Alberto Barbera announced the lineup on Tuesday morning, he did advise attendees to check running times when drawing up their schedules. Brady Corbet’s The Brutalist, for example, runs just over three and a half hours.

Cinematographer Lol Crawley (Vox Lux, White Noise) shot The Brutalist in VistaVision, a widescreen, high-resolution 35 mm format, and the festival will project a 70 mm print. Adrien Brody stars as László Tóth, a Hungarian architect and Holocaust survivor who emigrates to the U.S. with his wife (Felicity Jones), struggles for a while, but then lands a life-changing contract with a mysterious and wealthy client (Guy Pearce).

‘The Brutalist’ First Look: Brady Corbet’s 215-Minute, 70mm Epic Stars Adrien Brody in a ‘Fountainhead’ Homage Brady Corbet's 215-minute 'The Brutalist' is confirmed to premiere in Venice in 70mm. See a first look at the film here.

Pedro Almodóvar’s first full-length feature in English—both The Human Voice (2020) and Strange Way of Life (2023) ran about half an hour each—is one of twenty-one films lined up to compete for the Golden Lion in Venice.The Room Next Door stars Tilda Swinton as Martha, a war correspondent estranged from her daughter, and Julianne Moore as Ingrid, a novelist and one of Martha’s closest friends.

‘The Room Next Door’ First Look: Julianne Moore and Tilda Swinton Are Pedro Almodóvar’s New Muses See a first official image from Pedro Almodóvar's 'The Room Next Door,' starring Tilda Swinton and Julianne Moore and premiering in Venice.

In a director’s statement announcing Parthenope last summer, Paolo Sorrentino said that he intends to tell the story of a woman whose “long life embodies the full repertoire of human existence: youth’s lightheartedness and its demise, classical beauty and its inexorable permutations, pointless and impossible loves, stale flirtations and dizzying passion, night-time kisses on Capri, flashes of joy and persistent suffering, real and invented fathers, endings, and new beginnings.”

Paolo Sorrentino’s New Movie Heads Back to Naples, For Love Letter to His Native City (EXCLUSIVE) Two years after his return to Naples for 'The Hand of God,' Paolo Sorrentino is heading back to his hometown for a movie centred on local mythology.

Ali Abbasi (Border, Holy Spider) directs Sebastian Stan as Donald Trump in The Apprentice, featuring Maria Bakalova as Ivana and Jeremy Strong as right-wing lawyer Roy Cohn.

‘The Apprentice’ First Look: Sebastian Stan Is a Young Donald Trump Building His Empire Sebastian Stan leads 'The Apprentice' as a young Donald Trump set in the 1980s.

Emma Stone, Willem Dafoe, Margaret Qualley, Jesse Plemons, Hunter Schafer, Joe Alwyn, Hong Chau, and Mamoudou Athie take on multiple roles in the three stories Yorgos Lanthimos tells in Kinds of Kindness.

KINDS OF KINDNESS | Cannes Announcement 2024 | Searchlight Pictures Cannes of Kindness. Yorgos Lanthimos' KINDS OF KINDNESS comes to this year's In select theaters June 21st. ...

Last summer, Jia Zhangke said that he was close to completing We Shall Be All, which traces two decades in the life of a woman (Zhao Tao). He began shooting off and on in 2001, and Caught by the Tides is probably the same project with a new title.

Jia Zhang-ke Sets ‘We Shall Be All’ as First Feature Project in Five Years (EXCLUSIVE) Some 22 years in the making, Jia Zhang-ke sets ‘We Shall Be All’ as his first feature project in five years.

Payal Kapadia, whose A Night of Knowing Nothing premiered in Directors’ Fortnight in 2021 and won the Golden Eye award for Best Documentary, will bring All We Imagine as Light. Two nurses, one rattled by an unexpected gift from her estranged husband, head to the beach and discover a mystical forest.

Payal Kapadia’s All We Imagine as Light is first Indian film in 30 years to make it to Cannes’ competition section Writer-director Payal Kapadia's debut feature All We Imagine as Light becomes first Indian film since Shaji N Karun's Swaham (1994) to compete for Palme d'Or award.

Demi Moore, Margaret Qualley, and the late Ray Liotta star in Coralie Fargeat’s horror movie The Substance, and Frémaux advises us to brace ourselves for a whole lot of blood.
At eighty-one, David Cronenberg is four years younger than Coppola, and The Shrouds will be the seventh of his features to premiere in competition. The first, Crash, won the Jury Prize in 1996, when Coppola was president of the jury (and this year’s president, in case you need reminding, will be Greta Gerwig). The Shrouds stars Vincent Cassel as an innovative entrepreneur who develops a device for communing with the dead. In Christophe Honoré’s Marcello mio, Chiara Mastroianni finds a unique way of dealing with the ghost of her father in the company of her mother, Catherine Deneuve. Gilles Lellouche’s musical comedy Beating Hearts, starring François Civil and Adèle Exarchopoulos, also spans twenty years. It’s the love story of a rich girl and a working-class boy interrupted by a twelve-year prison sentence for the boy.
Another musical comedy, Jacques Audiard’s Emilia Perez, stars Karla Sofia Gascón as the head of a Mexican cartel who becomes a woman not only to escape the authorities but also because she’s always wanted to. The cast includes Selena Gomez, Zoe Saldaña, and Édgar Ramírez. Mikey Madison stars in Sean Baker’s s*x-worker comedy, Anora. In Karim Aïnouz’s erotic thriller Motel Destino, Heraldo, a young man who’s botched a hit, runs from the police and the gang he’s let down to a roadside s*x hotel in northern Brazil. Heraldo and the hot and frustrated wife of the hotel’s owner catch each other’s eye. Jacob Elordi plays a young Leonard Fife, an American writer who’s fled to Canada to avoid the draft during the Vietnam War, and Richard Gere plays Fife as an older, tormented man in Paul Schrader’s Oh, Canada, an adaptation of Russell Banks’s 2021 novel, Foregone. Kirill Serebrennikov directs Ben Whishaw in Limonov: The Ballad, working with a screenplay by Ben Hopkins and Paweł Pawlikowski based on Emmanuel Carrère’s 2011 novelized biography of Russian dissident Eduard Limonov.
Miguel Gomes (Arabian Nights) enters the competition for the first time with Grand Tour. In 1917 Rangoon, a civil servant for the British Empire abandons his fiancé, who then tracks his path throughout Asia. Set in the same era but in a different city, Copenhagen, Magnus von Horn’s The Girl with the Needle stars Vic Carmen Sonne as Karoline, a pregnant factory worker who befriends Dagmar (Trine Dyrholm), a woman who runs an underground adoption agency.

The films of the Official Selection 2024 - Festival de Cannes The list of films is regularly updated. The 2024 press kit, the press conference podcast, the iconographic elements as well as the list of film press officers are available to…

Variety calls Wild Diamond, the first feature from Agathe Riedinger, “a contemporary coming-of-age story about a young girl who blossoms through a virtual persona on social media.”

Cannes Film Festival Reveals Lineup: Coppola, Cronenberg, Lanthimos, Schrader and Donald Trump Portrait ‘The Apprentice’ in Competition The Cannes Film Festival has revealed its 2024 lineup, including Yorgos Lanthimos' 'Kinds of Kindness' and Paul Schrader's 'Oh Canada.'

Andrea Arnold, who has won Jury Prizes for Red Road (2006), Fish Tank (2009), and American Honey (2016), returns with Bird, starring Barry Keoghan and Franz Rogowski. According to the BFI, Bird is “the story of twelve-year-old Bailey, who lives with her single dad Bug and brother Hunter in a squat in north Kent.”

Cannes 2024 lineup includes 3 BFI-supported UK films The line-up includes Andrea Arnold’s Bird and Sandhya Suri’s Santosh, both backed by the BFI Filmmaking Fund, as well as September Says, directed by Ariane Labed and supported by the UK Global Screen Fund.

Megalopolis is one of nineteen films selected so far to compete for the Palme d’Or, and Frémaux promises to add a few more in the coming days. As IndieWire’s Kate Erbland points out, only four of these films are directed by women. Last year, there were seven, and one of them, Justine Triet’s Anatomy of a Fall, took the top prize.

What Does a Post-‘Anatomy of a Fall’ Cannes Competition Lineup Look Like? Still Thin on Female Filmmakers This year's lineup is not yet complete, but the current competition selection includes just four films directed by women.

Two weeks ago, Coppola screened Megalopolis for friends, family, and potential buyers, and he found no takers. Vulture’s Bilge Ebiri makes a strong case for ignoring the suits who leaked their baffled reactions and reminds us of the many, many times one of Coppola’s big gambles—Apocalypse Now (1979), for example, or One from the Heart (1982)—was supposed to have ended his career.

Hollywood Is Doomed If There’s No Room for Megalopolises Francis Ford Coppola self-financed a movie the industry’s bean-counters don’t want. It’s not surprising, but it is depressing.

Deadline’s Mike Fleming Jr. broke the news on Tuesday, Francis Ford Coppola confirmed the story a few hours later, and yesterday morning in Paris, Cannes artistic director Thierry Frémaux made it official. Megalopolis, a futuristic story set in the aftermath of the destruction of a major city and shot through with references to the Roman Empire, will premiere in competition during the festival’s seventy-seventh edition (May 14 through 25).
Simmering in the back of Coppola’s mind for decades before he decided to finance its making himself, Megalopolis pits Caesar, an ambitious and idealistic architect played by Adam Driver, against the mayor, Frank Cicero (Giancarlo Esposito). “The debate becomes whether to embrace the future and build a utopia with renewable materials,” explains Fleming, “or take a business-as-usual rebuild strategy, replete with concrete, corruption, and power brokering at the expense of a restless underclass.”

Francis Coppola’s ‘Megalopolis’ Locks Competition Slot At 77th Cannes Film Festival: The Dish Francis Coppola's 'Megalopolis' locks a Friday, May 17 Competition slot at May's Cannes Film Festival.

Liliana Cavani made her own Ripley’s Game in 2002 with John Malkovich, “who I remember striking me as too eccentric and cerebral by nature to be an accurate Ripley,” recalls Ty Burr, “although he did capture the character’s fundamental chill. Ripley should be the type who can blend into the crowd—a pleasant fellow you meet at a cocktail party and only later sense the disturbance left by the moral vacuum in his wake.” Scott “can play vulnerability very well, but he was born with the black eyes of a shark and he puts them to excellent use in Ripley.”

What to Watch: "Ripley" Andrew Scott plays a new version of Patricia Highsmith's classic anti-hero on Netflix; plus "Girls State" on Apple TV+ and more.

In 1977, Wim Wenders cast Dennis Hopper as Ripley in The American Friend, an adaptation of Ripley’s Game (1974), the third book in the series. “If Highsmith’s Ripley is a cool customer, a fraud and maniac so skilled at what he does that (by the time we catch up with him) he has managed to secure himself an enviable (if ultimately precarious) existence,” wrote Francine Prose in 2016, “Wenders and Hopper give us, in Ripley, a hopped-up elf from hell, simultaneously calculating, goofy, and demonic.”

The American Friend: Little Lies and Big Disasters In German filmmaker Wim Wenders’s high-strung thriller, adapted from two Patricia Highsmith novels, Dennis Hopper plays sociopathic con man Tom Ripley as a “hopped-up elf from hell” who works his charms on a winsome and guileless Bruno Ganz.

“When it first came out in America, Purple Noon was like an advertisement for a life of luxurious sensuality, with hints of La dolce vita–style decadence and New Wave–style modishness, pristinely opulent hotel rooms and lobbies, and large helpings of sand and sun,” wrote Geoffrey O’Brien in 2012. “Purple Noon is the very opposite of film noir.”

Purple Noon: In Broad Sunlight In René Clément’s sparkling but menacing anti-noir, the Mediterranean setting is as seductive as Alain Delon’s baby blues.

Tom Ripley is “a mystery, which is what makes him so primed for reinvention,” writes the NYT’s Alissa Wilkinson. “A close look at the various Mr. Ripleys suggests something both confounding and fascinating: Ripley is less character than cipher, an outline of a figure onto which filmmakers (and audiences) have projected their cultural moments. Watching them all is like watching eras swing past you in living color. (And, eventually, in black and white.)”

When Tom Ripley Stares Into the Mirror, He Sees Us In the new series and in five previous movies, the character serves as a blank slate to examine the mores and concerns of the time.

Time’s Judy Berman, though, finds Ripley “gorgeously realized yet torpid, ultimately a bit vapid.” But Scott “has nonetheless given us the first definitive onscreen Ripley. Delon’s performance is a study in glamorous cruelty, yet it offers no glimpse of Tom’s evolution from awkward and aggrieved petty crook to worldly and polished criminal mastermind. Damon’s Tom does transform, but the actor’s aw-shucks wholesomeness in early scenes fails to persuasively foreshadow the protagonist’s violent potential.”

A New Netflix Series Makes Andrew Scott the Definitive Tom Ripley Netflix's gorgeously realized 'The Talented Mr. Ripley' adaptation is torpid, and even a bit vapid, but Scott makes for a compellingly chameleonic Tom Ripley.

“(Ripley) also moves incredibly slowly,” notes Lucy Mangan in the Guardian. “For those who can lean in and appreciate the capture of a sensibility summarized in Graham Greene’s description of Highsmith as a ‘poet of apprehension,’ this will be one of the best things about it. The careful mapping of Tom’s every move, whether in furtherance of his deceit or the covering up of his crimes, allows the tension to mount exquisitely.”

Ripley review – Andrew Scott is absolutely spellbinding This scintillating and noirish adaptation leaves Matt Damon’s 1999 version in the shade. It’s largely thanks to Scott – who is just mesmerising