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  • Actress Jane Seymour ‘beyond sorry and appalled’ for Schwarzenegger comment

    Actress Jane Seymour reportedly said to CNN at the red carpet premiere of her new IFC movie “Love Marriage Wedding” on May 17 that she believed “there will be lots of information coming people’s way…I heard about two more [out of wedlock kids] somebody else knows about. I even met someone who knows him well.”

    Yesterday on “The View” Friday, Seymour regretted her remarks, saying, “I’m so beyond sorry and appalled that I found myself even talking on the subject at all.”

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    Love Marriage Wedding is directed by Dermot Mulroney and stars Mandy Moore, Kellan Lutz, James Brolin, Jane Seymour, Jessica Szohr, Michael Weston, Sarah Lieving, Joe Chrest. In the film, Mandy Moore is a marriage counselor whose life as a newly wed married to Kellan Lutz is turned upside down when she discovers her parents’ happy marriage is unexpectedly headed for divorce. Determined to reconcile her parents for their 30th anniversary surprise party she stops at nothing plunging from one compromising situation to another.

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  • 2011 Cannes Film Festival entry WE NEED TO TALK ABOUT KEVIN to be released in the US, Winter 2011

    Oscilloscope Laboratories, the film production and distribution company owned by Adam Yauch of Beastie Boys, will release in the US, the 2011 Cannes Film Festival competition entry WE NEED TO TALK ABOUT KEVIN, from director Lynne Ramsay (RATCATCHER and MORVERN CALLAR).  Oscilloscope will release WE NEED TO TALK ABOUT KEVIN theatrically this Winter, accompanied by an awards campaign.

    A suspenseful and psychologically gripping exploration into a parent dealing with her child doing the unthinkable, WE NEED TO TALK ABOUT KEVIN is told from the perspective of Eva, played by Tilda Swinton in a tour-de-force performance.

    Always an ambivalent mother, Eva and Kevin have had a contentious relationship literally from Kevin’s birth.  Kevin (Ezra Miller), now 15-years-old, escalates the stakes when he commits a heinous act, leaving Eva to grapple with her feelings of grief and responsibility, as well as the ire of the community-at-large.  WE NEED TO TALK ABOUT KEVIN explores nature vs. nurture on a whole new level as Eva’s own culpability is measured against Kevin’s innate evilness, while Ramsay’s masterful storytelling leaves enough moral ambiguity to keep the debate going.

    Adam Yauch, head of Oscilloscope Laboratories said:  “We are honored to be working with Lynne, Tilda, John, and Ezra to release this masterpiece—the most intense thriller I’ve seen since Polanski’s ROSEMARY’S BABY.  I was on the edge of my seat throughout and it was clear I was in the capable hands of a master filmmaker, who I’m now proud to see join all our other great filmmakers as a member of the O-Scope family.”

    With a screenplay by Lynne Ramsay & Rory Stewart Kinnear, WE NEED TO TALK ABOUT KEVIN based on the novel by Lionel Shriver.  The film also stars John C. Reilly as Eva’s husband Franklin, and Ezra Miller in a breakout performance as the titular Kevin.  Swinton’s recent credits include her acclaimed performance in Erick Zonca’s JULIA, which she received a Cesar Award nomination for Best Actress, and in Luca Guadagnino’s acclaimed film, I AM LOVE (Io Sono L’Amore), which she also produced.

    Other Oscilloscope theatrical releases include Yauch’s GUNNIN’ FOR THAT #1 SPOT, Irena Salina’s FLOW, Kelly Reichardt’s WENDY AND LUCY starring Michelle Williams, So Yong Kim’s TREELESS MOUNTAIN, the Academy Award(R)-nominated THE GARDEN from Scott Hamilton Kennedy, Anders Ostergaard’s Academy Award(R)-nominated BURMA VJ, Nati Baratz’s UNMISTAKEN CHILD, Oren Moverman’s Academy Award(R)-nominated THE MESSENGER starring Woody Harrelson, Ben Foster, and Samantha Morton, Henrik Ruben Genz’s Danish thriller TERRIBLY HAPPY, Michel Gondry’s personal family documentary THE THORN IN THE HEART, Jules Dassin’s classic THE LAW, Yael Hersonski’s award-winning WWII documentary A FILM UNFINISHED, Rob Epstein and Jeffrey Friedman’s HOWL starring James Franco as Allen Ginsberg, Jalmari Helander’s Christmas fantasy RARE EXPORTS: A CHRISTMAS TALE and Oscar(R)-nominated director Dana Adam Shapiro’s feature film debut MONOGAMY starring Chris Messina and Rashida Jones. Upcoming releases include Kelly Reichardt’s Western drama MEEK’S CUTOFF starring Michelle Williams, Bruce Greenwood, Paul Dano, Zoe Kazan, and Shirley Henderson, and James Franco’s directorial debut SATURDAY NIGHT, which covers a week on the set of Saturday Night Live.

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  • RIP: documentary filmmaker Bruce Ricker

    [caption id="attachment_1382" align="alignnone" width="560"]Bruce Ricker (that’s him on the left, with Clint Eastwood and Quentin Tarantino) [/caption]

    Bruce Ricker — a Cambridge, Massachusetts -based director and producer of documentaries whose best-known film, “The Last of the Blue Devils’’ (1979), is a jazz classic — died of pneumonia Friday in Mount Auburn Hospital in Cambridge.

    He was 68.

    Mr. Ricker specialized in documentaries about jazz, popular music, and film history.

    Read more in Boston Globe

    image via Boston Globe

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  • RIP: Donald Krim, president of’ film distribution company, Kino International

    Donald Krim, a film distributor, president of’ Kino International, a company founded in 1977 and acquired by Mr. Krim in 1978, died on Friday at his home in Manhattan. He was 65.

    Among the films imported by Kino as a result of Mr. Krim’s festival explorations were Percy Adlon’s “Zuckerbaby” (1985), Mitsuo Yanagimachi’s “Himatsuri” (1986) and Michel Khleifi’s “Wedding in Galilee” (1988). Mr. Krim also helped to introduce the work of such art-house stalwarts as the Hong Kong director Wong Kar-wai (“Days of Being Wild,” 1990), the Austrian Michael Haneke (“The Piano Teacher,” 2001) and the Israeli Amos Gitai (“Kadosh,” 1999).

    Three Kino releases received Academy Award nominations in the best foreign-language film category: Joseph Cedar’s “Beaufort” (2007), Scandar Copti’s “Ajami” (2009) and Giorgos Lanthimos’s “Dogtooth” (2010).

    Read more in the NY Times

    image via NYTimes

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  • IFC Midnight to release Australian filmmaker Justin Kurzel’s psychological thriller SNOWTOWN in the U.S.

    [caption id="attachment_1377" align="alignnone" width="560"]SNOWTOWN[/caption]

    IFC Midnight announced from the 2011 Cannes Film Festival that the company Australian filmmaker Justin Kurzel’s psychological thriller SNOWTOWN in the U.S.. The directorial debut for Kurzel, with a screenplay by Shaun Grant, stars Lucas Pittaway, Daniel Henshall, and Louise Harris.  Arriving with much buzz after winning the Audience Award at the Adelaide Film Festival, the film was just awarded a special citation last night by the Critics’ Week jury. The film is also in competition for the Camera d’Or.

    Based on a true story, SNOWTOWN follows sixteen-year-old Jamie (Pittaway) who begins a friendship with a charismatic older man (Henshall).  As the relationship grows, so do Jamie’s suspicions, until he finds his world threatened by both his loyalty for, and fear of, his newfound father-figure.  The older man Jamie befriended was John Bunting, Australia’s most notorious serial killer.

     

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  • Poliss from 2011 Cannes Film Festival to be relased in the US

    [caption id="attachment_1375" align="alignnone" width="560"]POLISS[/caption]

    Sundance Selects announced from the 2011 Cannes Film Festival that the company will release in the U.S.,  writer-director and actress Maiwenn’s POLISS.  The film, which made its world premiere in Competition at the festival, was produced by Alain Attal and co-written by actress Emmanuelle Bercot, who also co-stars in the film. The film also stars Karin Viard, Joeystarr, Marina Fois, Nicolas Duvauchelle, Karole Rocher, Frederic Pierrot, Arnaud Henriet, Naidra Ayadi and Jeremie Elkhaim.

    The film follows a group of individuals and officers working in and around a child protection unit in Paris.

    Sundance Selects has also picked up several other titles at this week’s festival including Julia Leigh’s SLEEPING BEAUTY; writer/director Bertrand Bonello’s HOUSE OF TOLERANCE; writer/director Mia Hansen Love’s GOODBYE FIRST LOVE; and Jean-Pierre and Luc Dardenne’s THE KID WITH A BIKE. IFC Midnight, Sundance Selects’ sister division, additionally picked up Australian filmmaker Justin Kurzel’s psychological thriller SNOWTOWN ot U.S. release

    Sundance Selects is a sister division to IFC Films and IFC Midnight, and is owned and operated by Rainbow Media.

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  • REVIEW:The Big Uneasy .. worth seeing for a whole new perspective on the Hurricane Katrina disaster

    There have been some important documentaries about Hurricane Katrina, including Spike Lee’s epic When the Levees Broke, and the very personal Trouble the Water, but Harry Shearer’s The Big Uneasy is worth seeing for a whole new perspective on the disaster, one that was far from “natural.”

    Shearer (an actor and comedian, as well as New Orleans resident) presents a wealth of data and evidence proving undoubtedly that it was the many engineering and design flaws, largely the work of the US Army Corps of Engineers, which led to the flooding of the city. He interviews three main figures, two academic scientists and an Corps engineer, whose expertise and knowledge in the field is indisputable, and whose findings have led to one losing his job, and the others being ostracized. The two scientists, Robert Bea and Ivor van Heerden, were part of two separate scientific investigations examining the levees, and how, why, and when they broke. Their investigations were largely ignored and led to big lawsuits with little results. The engineer Maria Garzino worked with the Corps prior to Katrina testing the pumps that were meant to keep flooding water out of the city, but that were defective and “temporarily” installed anyway. She released a memo warning of these defects, and hit wall after wall of federal and governmental authorities.

    These three testimonies make up the core of the film’s argument, but some other enlightening aspects of the film’s investigation include the debate about the wetlands surrounding the city, which provide a natural defense against hurricanes but are severely depleted, and a new design option for New Orleans, mimicking the use of water in places like Holland, where the water running through cities has been designed into tributaries rather than damned off. The documentary also goes back decades in time to the “Mr Go” project in the late 50s– the first huge engineering mistake made in New Orleans, never repaired, and part of the reason for the flooding.

    The Big Uneasy gives an almost overwhelming amount of new information that has not fully been released to the public before, and although it is in some ways a conspiracy, it is rooted in fact, and the cover up is simply abominable. The film certainly incriminates the Army Corps and the US Congress, but the interviews with Corps employees and soldiers speak for themselves. The cinematic style of the documentary is something to be desired; it’s mostly talking heads, documents highlighted onscreen, and some celebrity voice-overs, as well as animated sequences mapping out the flood, but an original style isn’t the goal of the film. Rather, like An Inconvenient Truth, it seeks to give crucial information to the public in an effective manner. One hopes that it will escape the controversy of the former film; unless you work or endorse the Army Corps, I don’t see how you could have mixed feelings about the information given. To balance the scientific talk, Shearer attempts to provide some sardonic wit and a more personal perspective on the subject with an appearance by John Goodman, and input from regular New Orleanians about their city. And, so as not to fully depress the audience, the film attempts ends on a hopeful note for the future.

    Opens Friday, May 20th in NYC

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  • Cannes Bars Lars von Trier for Strange Hitler Remarks | VIDEO

    [caption id="attachment_1364" align="alignnone" width="560"]Director Lars von Trier and Kirsten Dunst at the controversial Cannes press conference [/caption]

    After a screening of Lars von Trier’s latest film, “Melancholia,” starring Kirsten Dunst, Charlotte Gainsbourg and Charlotte Rampling, a major uproar occurred over some very controversial (and most likely taken-VERY-out-of-context) statements that he made.

    Mr. von Trier, describing his use of the Wagner’s “Tristan and Isolde” in the film, was asked by a British journalist about his claim to have an interest in the Nazi aesthetic and his German roots. (Which he had apparently commented on in a previous interview.)

    Apparently, von Trier’s mother had  told him on her deathbed that her father-who was Jewish- was not his biological parent. “I really wanted to be a Jew, and then I found out that I was really a Nazi,” he said.

    The Hitler remarks are as follows: “I think I understand the man. He’s not what you would call a good guy. But I understand much about him, I sympathize with him a little bit.”

    Perhaps von Trier, who suffers from depression, and in fact just finished “Melancholia” to help assuage this battle, was trying to be sympathetic with probably the most hated persona in current history. This certainly was not the forum to do so. Had he been out on the yacht with DiCaprio and Spielberg, perhaps it could have evolved into a civilized, intellectual conversation. But this was a Press Conference. At Cannes, no less, one of the most frenzied and frenetic press outlets outside of Lady Gaga moon landing.

    Lars von Trier, of Danish descent, is one of cinema’s most notorious enfants terribles, calling Cannes juror Roman Polanski “the midget” in 1991, when he missed out on the Palme D’Or, instead grabbing the Jury Runner-Up Prize instead for “Europa.” His last film, “Antichrist,” was extremely explicit, almost disturbingly so.

    Here is what the Cannes Film Festival posed on its website today: “The Festival de Cannes provides artists from around the world with an exceptional forum to present their works and defend freedom of expression and creation. The Festival’s Board of Directors, which held an extraordinary meeting this Thursday 19 May 2011, profoundly regrets that this forum has been used by Lars von Trier to express comments that are unacceptable, intolerable, and contrary to the ideals of humanity and generosity that preside over the very existence of the Festival. The Board of Directors firmly condemns these comments and declares Lars von Trier a persona non grata at the Festival de Cannes, with effect immediately.”

    Von Trier insisted afterwards that he was really only joking, and apologized afterwards. Festival President Gilles Jacob said “Melancholia” will be allowed to remain in competition. But if “Melancholia” garners any Prizes at Cannes, even the Palme D’Or, von Trier will not be allowed to be there in person to collect it. He will still be banned and barred from the closing ceremonies on Sunday.

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  • Tribeca Film to release French hit film ‘Romantics Anonymous’ in the US

    Tribeca Film will release in the US, Romantics Anonymous, a box-office hit in France that had its international premiere at the 2011 Tribeca Film Festival. Jean-Pierre Améris directed and co-wrote the film with Philippe Blasband.

    The film tells the story of Angélique Delange (Isabelle Carré, Private Fears in Public Places), an unemployed but gifted chocolate-maker with a lifelong case of uncontrollable shyness that prevents her from properly sharing her confectionary talents. Jean-René Van Den Hugde (Benoît Poelvoorde, Coco Before Chanel) suffers from a similar case of terminal abashment and runs a fledgling chocolate company in desperate need of a new direction. When Jean-René hires Angélique as the new sales associate, the two nervous Nellies must face their deepest fears. With the chocolate business hanging in the balance, they are forced to fess up to their hidden sweet affections for each other.

    Romantics Anonymous will be released in the coming months by Tribeca Film, a comprehensive distribution label operated by Tribeca Enterprises, the company behind the Tribeca Film Festival.

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  • Netflix Signs New Streaming Deal with Miramax

    Netflix and Miramax  announced this week a multi-year agreement under which Netflix members in the U.S. will be able to instantly watch some of the world’s most loved and acclaimed motion pictures from the Miramax film library. It is the first time Miramax titles have become available through a digital subscription service.

    Beginning in June, Netflix members in the U.S. will be able to instantly watch several hundred Miramax movies, with dozens of titles being added on a rotating basis.  The movies can be watched on multiple platforms, including TV, tablet, computer and mobile phones.  Financial terms of the deal are not being disclosed.

    “From day one, we’ve been very clear about the importance of digital and our desire to respond to the significant pent-up demand for our films — delivering to consumers whenever and wherever they want,” said Mike Lang, CEO of Miramax.  “This agreement is an important first step in our digital strategy.  Netflix has always been a trailblazer, with a tremendous track record of innovation and quality customer service.  We’re thrilled to now be in business with them as we build and revitalize the proud Miramax brand.”

    Through this partnership, the Netflix library gains a variety of films which collectively have 284 Academy Award nominations, across 83 films, with 68 wins, including the Best Picture winners “The English Patient” and “Shakespeare in Love.”  Iconic titles such as “Bad Santa,” “Chasing Amy,” “Cinema Paradiso,” “Clerks,” “Cold Mountain,” “From Dusk Till Dawn,” “Good Will Hunting,” “Kill Bill” Volumes I and II, “Muriel’s Wedding,” “The Piano,” “Pulp Fiction,” “Reindeer Games” and many of the “Halloween,” “Scary Movie,” “Scream” and “Spy Kids” movies will be available over time.

    [From the Netflix Media Room:]

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  • Academy Announces Winners for 2011 Student Academy Awards®

    12 students from nine U.S. colleges and universities and three students from outside the U.S. have been selected as winners in the Academy of Motion Picture Arts and Sciences’ 38th Annual Student Academy Awards competition.  The student filmmakers will be brought to Los Angeles for a week of industry-related activities and social events that will culminate in the awards ceremony on Saturday, June 11, at the Academy’s Samuel Goldwyn Theater.

    The winners are (listed alphabetically by film title):

    Alternative category
    “The Vermeers,” Tal S. Shamir, The New School, New York

    Animation category
    “Correspondence,” Zach Hyer, Pratt Institute, New York
    “Defective Detective,” Avner Geller and Stevie Lewis, Ringling College of Art and Design, Florida
    “Dragonboy,” Bernardo Warman and Shaofu Zhang, Academy of Art University, California

    Documentary category
    “Imaginary Circumstances,” Anthony Weeks, Stanford University
    “Sin Pais (Without Country),” Theo Rigby, Stanford University
    “Vera Klement: Blunt Edge,” Wonjung Bae, Columbia College Chicago

    Narrative category
    “Fatakra,” Soham Mehta, University of Texas at Austin
    “High Maintenance,” Shawn Wines, Columbia University
    “Thief,” Julian Higgins, American Film Institute, California

    Foreign Student Film category
    “Bekas,” Karzan Kader, Stockholm Academy of Dramatic Arts, Sweden
    “Raju,” Max Zaehle, Hamburg Media School, Germany
    “Tuba Atlantic,” Hallvar Witzo, Norwegian Film School, Norway

    The Academy established the Student Academy Awards in 1972 to support and encourage excellence in filmmaking at the collegiate level.  Past Student Academy Award® winners have gone on to receive 43 Oscar® nominations and have won or shared eight awards.  At the 83rd Academy Awards earlier this year, 2010 Student Academy Award winner Luke Matheny took home the Oscar for Live Action Short Film for “God of Love.”  Tanel Toom, another 2010 Student Academy Award winner, also was nominated in the Live Action Short Film category for “The Confession,” and John Lasseter, a 1979 and 1980 Student Academy Award winner, was a nominee in the Adapted Screenplay category for “Toy Story 3.”

    [source: AMPAS]

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  • REVIEW: The Topp Twins: Untouchable Girls… succeeds in entertaining

    The Topp Twins: Untouchable Girls is a new documentary directed by New Zealand filmmaker Leanne Pooley on two fascinating subjects—the performing duo Lynda and Jools Topp, twins who have become cultural and national icons in New Zealand over the past 25 years. As one interviewee says, a pair of yodeling lesbian twins doesn’t sound all that impressive on paper, but their act, which includes country music, comedy, and interaction with audience members, succeeds in entertaining extremely diverse groups of people, while subtly making a political statement simply by being who they are. The twins are described in the film by various people as “an anarchist variety act,” “relatively shameless,” and “a healthy, moral, cheerful cowgirl image for out lesbians.” These unique sisters fit a multitude of descriptions, all of them positive.

    The Topp Twins grew up on a farm in New Zealand, and are still very close to the land and animals of their upbringing. When they’re not touring the world, they enjoy the simple life of riding horses and raising cattle, but don’t mistake them for “simple” folk. As the film shows, they have a very interesting background, having spent time in the army, busked in the streets to start their music career, and then became very active in political and social issues, fighting for Maori land rights, a nuclear-free New Zealand, and gay rights. In everything they’ve done, Lynda and Jools have remained constant in their dedication to each other, and their undying lighthearted and positive energy, which of course carries into their acts.

    Pooley’s film captures this close relationship and amazingly limitless joy. A straightforward and traditional documentary, it also includes great concert and archival footage, hilarious and improvised interviews with the Topp’s comedy characters, such as Ken and Ken, and Camp Mother and Camp Leader. The film gets to the heart of these two wonderful subjects, and upon seeing it, one will no doubt want to find out where they might be touring next.

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