Italian filmmaker Andrea Pallaoro has good luck at the Venice Film Festival. His feature debut, “Medeas,” won the Best Innovative Budget Award at the Lido in 2013. And his two follow-ups since then, 2021’s “Hannah” with Charlotte Rampling and last year’s “Monica,” had solid world premieres at Venice in each of those years.
Read More: ‘Monica’ Review: Trace Lysette Stuns In Andrea Pallaoro’s Quiet Family Drama [Venice]
Now it’s time for US audiences to see what all the fuss about “Monica” is about.
Continue reading ‘Monica’ Trailer: IFC Brings Andrea Pallaoro’s Latest Venice Hit To Theaters On May 12 at The Playlist.
Read More: ‘Monica’ Review: Trace Lysette Stuns In Andrea Pallaoro’s Quiet Family Drama [Venice]
Now it’s time for US audiences to see what all the fuss about “Monica” is about.
Continue reading ‘Monica’ Trailer: IFC Brings Andrea Pallaoro’s Latest Venice Hit To Theaters On May 12 at The Playlist.
- 3/23/2023
- by Ned Booth
- The Playlist
Los Angeles-based Italian director Andrea Pallaoro’s delicate drama “Monica” is finally set to open in U.S. theaters via IFC following its world premiere at last year’s Venice Film Festival.
The film starring transgender actor Trace Lysette (“Transparent”) as a woman who returns home to the Midwest to care for her dying mother, played by Patricia Clarkson, marked the first time an openly-transgender actress headlined a Venice competition title.
In “Monica” Lysette plays a woman who from Los Angeles goes back to her suburban midwest home for the first time since she was a teenager to care for her mom who had rejected her when she transitioned.
“For me, it was always crucial that Monica was an expression of a woman who returns home and really connects,” Pallaoro told Variety when the film launched from the Lido.
“Who forgives, and finds a connection with the world that she...
The film starring transgender actor Trace Lysette (“Transparent”) as a woman who returns home to the Midwest to care for her dying mother, played by Patricia Clarkson, marked the first time an openly-transgender actress headlined a Venice competition title.
In “Monica” Lysette plays a woman who from Los Angeles goes back to her suburban midwest home for the first time since she was a teenager to care for her mom who had rejected her when she transitioned.
“For me, it was always crucial that Monica was an expression of a woman who returns home and really connects,” Pallaoro told Variety when the film launched from the Lido.
“Who forgives, and finds a connection with the world that she...
- 3/23/2023
- by Nick Vivarelli
- Variety Film + TV
‘Monica’ Premieres at the Venice Film Festival
‘Monica’ begins in extreme closeup of a beautiful but unhappy woman. We do not know what makes her so unhappy; she is quiet, uncommunicative and lives in a sort of darkness, using her cel phone to call and to talk to people who do not answer her calls.
Opening as she is in a sun-tanning machine, the cinematography promotes the physical aspects of her life as her reality. She goes to her red convertible in a palmy sun-soaked Los Angeles and drives into middle America, her dyed red hair blowing in the breeze.
The film’s stillness, its low tenor dialogue when there is any, and the near lack of action make us gather pieces of the story more by induction than by its narrative. The moodiness of the story sets us into a receptive state to understand Monica is returning home to a world she has long left behind. She has a brother with a young wife and three young children. She has a mother who is dying. She also has a numbness to her that makes us feel numb ourselves.
We see her world and learn that she left home when a teenager and her mother left her off at the bus station and told her she could no longer be her mother. She returns not knowing if her mother will acknowledge her or even recognize her. But in the course of returning and connecting to her brother’s family, she finds a healing and the family finds a reconciliation of the sort we would all wish to make before our parents or siblings die. Solace comes from the everyday moments, normalcy in a time of despondency for all as the mother is dying but still living.
Trace Lysette is Monica
Andrea Pallaoro, the film’s director has a quiet and very sophisticated subtle way of delivering what we see as normal details in a way that delves into Monica’s internal world and state of mind. His earlier two films Medeas and Hannah, also have a feeling of not going anywhere as stillness and quiet predominate; but in the end, we know we have arrived at a different place.
He delivers an Italian arthouse feel to stories of almost normal, prosaic people leading lives of quiet desperation. This tattooed woman in a sun machine with her dyed red hair and red convertible, calling an estranged lover perhaps, calling people who do not return her calls, speaking with strangers and asking how they got her number, her massaging a man in her apartment, Is she a prostitute? She is a masseause but what sort…that is when the call comes from a sister-in-law she didn’t know she had, asking her to please come as her mother is dying and they need help with her and their own children.
Andreas has this to say about this particular film: During the past few years my mother’s illness has compelled me to confront my past and the psychological effects of abandonment. Treading between the interior and exterior, the emotional and physical, Monica explores the complexities of self-worth, the deep-rooted consequences of rejection and the lengths we go to heal our wounds. Through a cinematic language that stems from the juxtaposition of the aesthetics of intimacy and alienation, my creative team and I delved into the emotional and psychological landscape of Monica to reflect the precarious nature of self-identity when challenged by the need to survive and ultimately transform.
Andrea Pallaoro is no stranger to Venice. His first feature film, Medeas, premiered at the 70th Venice Film Festival in Orozzonti, the section for first and second time directors. It has won several awards at prestigious international film festivals including Marrakech, Tbilisi, Palm Springs, and CamerImage. And it has received positive reviews by serious critics and opinion makers. The New York Times’ Jeannette Catsoulis: “Capturing the poetry of bodies at rest and a landscape frozen in time,” in many ways describes Monica as well.
Hannah, Pallaoro’s second feature film, starring Charlotte Rampling, also world premiered in the Official Competition of the 74th Venice Film Festival where Ms. Rampling won the Coppa Volpi for best actress. Hannah went on to receive many prestigious international awards and recognition including a César nomination for best foreign film.
Born in Trento, Italy in 1982, Andrea Pallaoro holds an Mfa in Film Directing from the California Institute of the Arts and a BA from Hampshire College. He splits his time between Los Angeles and New York City.
What is as interesting to me as the film itself, is how the producer, Eleonora Granata-Jenkinson come to make this film and how everyone worked together. It is even more interesting because I am a close friend of Eleonora. We met in a line to a movie at her first Sundance Film Festival and I later visited her in Italy when she was a buyer for Rai Cinema. She moved to LA and married one of the finest acquisitions persons in the business and had two sons. She works very closely with the producer Gina Resnick, another “long-timer”, one of the first women in the film business and like us, still at it. Eleonora and Gina produced Andrea’s first film as well.
That is what I wanted to talk to her about and what follows is here:
I know you produced Andrea’s first film Medeas. You told me to see it when we were at the Palm Springs Film Festival. How did you meet Andrea, and did you know immediately that he was so gifted?
Eleonora: Because I am one of the few Italian producers living in Los Angeles, I get to see a lot of amazing young people coming over with their dream and with a film, and friends of friends who say “You gotta watch this, you gotta watch that”. So a dear friend of mine, Laura Zumiani of Trentino Film Commission, though they didn’t have a Trentino Film Commission then, said to me, “There’s a guy that you need to to see, he’s living here in LA and he’s from Trento, and he’s a good friend of mine, and he’s really talented. And I said, “Oh my god, one more…ok…” So I watched his short, it was called Wunderkammer.
Andrea was studying at Cal Arts; it was his last year, and this was his graduate film. I said, “Ok let’s watch this”. I was blown away. I had never seen such an incredible composition of photography; the camera moved in a swift and an incredibly crafted way. The story set was dark and I said ‘Omg, well maybe I’m overreacting’…I got so excited. You know when you find something, you say, ‘This is the thing!’…I call my friend Alessandra Venezia, the journalist, and I said, ‘Hey Alexandra’ (she’s my best friend) and I say, ‘am I crazy or is this guy got…’ I had a DVD because at that time it was what we had and I brought it to her. And she calls me back and says, ‘I watched it, oh my god, he’s incredible. Oh my god, Eleonora let’s go meet this guy’.
So I go, she couldn’t go, and I meet Andrea and Laura who’s Laura? Andrea is like one of the most sophisticated, amazing person you will meet. He’s kind, he’s funny, he’s gorgeous looking.
So I say Ok, so he has this idea and we develop a little bit of the idea on Medeashis first film and I became the producer. But I needed a hands on producer and I grab my other best friend…I have a few best friends, you are one too [thank you]. They are my support and my life and my joy, that’s why we are in this business…and I said, ‘Gina I have this project…she says, ‘oh no! not a first timer!,’ but then she saw his short and so we did Medeas. Then I developed with Andrea the second film, Hannah, starring Charlotte Rampling but I didn’t produce it for him. .. long sotry but it was better not to produce it and so we concentrated on this one and that’s how Monica came to be.
It sounds simple. Was it really so simple?
Eleonora: The journey for this film was a very long one because of the issue of the film and because of the nature of Andrea’s films which are absolutely accomplished but not for a wide audience. Monica is the biggest film that Andrea has done. It’s in English, it’s shot in the United States and we have a marvelous cast. The film turned out to be incredible.
What about Venice?…
Medeas showed at Venice Orizzonti, the festival’s section for first and second time directors. Then it went on to other festivals and received praise from very serious critics and opinion makers. New York Times called it a “ravishing first feature”.
His second film, Hannah, also premiered in Venice. Naturally we are in a good relationship with Venice and we would never consider anything else…though there is no guarantee that we would be chosen to go again. I think they will like the next one too however. So here we are in Competition, on the first weekend.
That is great placement — the first weekend.
Yes as the people start to migrate to Toronto after the first half…though any time, any day or night is a great achievement to be in Venice. There are other phenomenal films there that did not go to Cannes. I believe this is going to be one of the best Competitions of Venice. We’re so proud to be there…
Andrea is in great company: Gianni Amelio, Darren Aronofsky, Noah Baumbach, Alice Diop, Inarritu, Luca Guadigno, Jafar Panahi, Frederick Wiseman, Laura Poitras, Florian Zeller — just to name a few, fabulous experienced directors.
Let’s talk a bit about Monica. There’s so little dialogue and there’s so little visibly going on and yet that serves to puts you into this receptive state and you get it at the end…it is all so interior… Medeas was also quietly interior. And both are dealing with such American every day life and environment, the the protagonist is always quite special herself (and always a woman).
What is his connection to US?
Eleonora: He is an Italian-American director who, as every one of us who has come to Hollywood from outside of the USA, has an idea of America which is a very personal creative and cultural experience.
The story of Monica is based on a real friend of Andrea who was a neighbor when he first moved here. She was a beautiful transgender woman who was kicked out of her family when she was 16 and came to Los Angeles.
What’s trans about Monica?
She is a woman reconnecting with family that she was shut out from. She is going on an interior journey back to her roots from which she emerges from her loneliness and rejection and finds the value of loving each other for who we are.
What is edifying is the social commitment of the film. It is about injustice and understanding in portraying women in whatever shape they are as belonging to humankind…it’s a very human experience. We consider this a post-trangender film about a transgender person played by a transgender actor…
Is the actress trans?
Tracee Lysette worked in many non-transgender roles, but came out publicly as trans through her role as Shea on the Amazon series Transparent. On the show, she plays a transgender yoga teacher and friend of Maura Pfefferman (Jeffrey Tambor). She also played in Hustlers alongside Jennifer Lopez, Cardi B and Constance Wu.
Tracee generated such an energy in a beautiful love story interrupted and disconnected that she is able to move forward. It is such a restrained, finely drawn role. I really believe the performance will go for a major award.
One wonders whether the mother will recognize her and accept her.
Director Andrea Pallaoro and Patricia Clarkson
What about the other actors?
It was an unbelievable performance by Patricia Clarkson as the mother. She carried the film and with her own sensibility and her own personal view which so beautifully coinceded with Andreas’ vision. She supported the film all the way from its first steps through completion. She was always there for us.
Joshua Close, who plays the brother of Monica is coming out in Scorsese’s Killers of the Flower Moon playing opposite Leonardo di Caprio as his brother. He was great. Emily Browning is outstanding as the sister-in-law who calls Monica as she is giving the massage and tells her they need her to come back home where the mother is dying. And Adriana Barraza, one of the best actresses of Mexico, nominated for the Oscar for Best Performance by an Actress in a Supporting Role for Babel was incredible on the set, she brought such harmony.
The film was made on a very small budget and everyone had to pitch in to help it get made. The actors were all so supportive and helpful and Andrea actually produced the film with us. You should note aside from him there are only three producers: myself, Gina Resnick and Christina Dow.
I am a woman producer strongly believing in women supporting one another. Gina Resnick is not only a great hands-on producer but she stays through thick and thin. We of course are the closest friends as well. We must speak 20 times a day.
Even though it was a small budget, it was shot in 35 by a brilliant beautiful amazing Dp, Katelin Arizmendi. Kate is just coming off of the 2nd unit forDune. She is a brilliant young woman — looks like a movie star and is working with a whole team of women, grip and everything . You will see them all when you come to Venice. They’re all coming, this crazy force of nature. Together they did a did a stunning film, stunning. You could take every frame of film and put it on the wall.
We’re very very excited about it.
What about distribution?
We have already been invited to a very significant film festival after this one. It will have a successful journey. Our sales agent is The Exchange. And UTA: I want to mention Rena Ronson — Rina, Gina and Eleonora…UTA did so much for us. We really joined forces. They set up all the screenings for finding a domestic US distributor who screened the film. After Venice and the reviews and others have weighed in, we will decide on our US plan.
I notice a huge number of coproducers and executive producers. There are 19. What is that about? It seems, actually to be a trend…Triangle of Sadnesshad 31 as do so many films these days…
The many executive and coproducers all believed in the script in spite of its difficult subject and they all significantly helped us put this film together. They were our best allies.
Our financial partner Felix and all the executive producers are worth mentioning. My own son, Matteo Jenkinson worked really closely with me to produce this film…
Andrea is a brilliant genius. Surrounded by such a cast and technical team, our Italian post-production help, the editor Paola Freddi; everyone went way above and beyond their designated roles with the film.
We even had help from the Italians with post-production by Propaganda Italia, Simone Gandolfo and a little financial support of the Ministero della Cultura (MiC) . And we have the best distributor in Italy today, I Wonder.
Credits
Directed by Andrea Pallaoro
Written by Andrea Pallaoro and Orlando Tirado
Cinematographer Katelin Arizmendi
Editor Paola Freddi
Production Designer Andrew Clark
Costume designer Patrik Milani
Sound supervisor Mirko Perri
Produced by Gina Resnick p.g.a., Christina Dow, Eleonora Granata Jenkinson,
Andrea Pallaoro
Co — produced by Marina Marzotto a.g.i.c.i., Mattia Oddone, Riccardo Di Pasquale, Gabriele Oricchio, Antonio Adinolfi, Giorgia Lo Savio
Executive Producer — Trace Lysette, Andrei Epifanov, David Schwarz, Steve Stanulis, Joana Henning, Stephanie Castagnier Dunn , Anthony Burns, Amy Gilliam, Eric Schnedecker, Christina Sibul , Karen Tenkhoff, Eric Cook , Matteo Jenkinson , Brian O’Shea, Nat McCormick, Dru Davis, Julien P Bourgon , Theo Vieljeux, Ali Jazayeri, Viviana Zarragoitia
Produced by Varient Entertainment, Solo Five Production, Melograno Films
Co-produced by Propaganda Italia, Fenix Entertainment with Rai Cinema and Alacran Pictures
In association with 039 Albedo, The Exchange, Cinetrain and Hudson Entertainment Group
Cast & Crew
Trace Lysette ⎜Monica
Patricia Clarkson ⎜Eugenia
Emily Browning ⎜ Laura
Joshua Close ⎜ Paul
Adriana Barraza ⎜ Leticia
Graham Caldwell ⎜Brody
Ruby Fraser ⎜Britney
Director Of Photography/ Camera Operator — Kate Arizmendi
1St Assistant Camera — Jasmine Chang
2nd Assistant Camera — Sam Storm
1St Assistant Director- Laura Klein
2Nd Assistant Director — Roger Mendoza
Line Producer — Chenney Chen
Upm — Eric Cook
Production Coordinator — Nick Avery, Cristina Arteaga
Production Secretary- Jessica Meek
Casting Director (NY/LA) — Emily Schweber
Local Casting Director — D. Lynn Meyers
Assistant Casting Director — Ali Raizin
Assistant Casting Director Cincinnati — Becca Schall
Costume Designer — Patrik Milani
Asst. Costume Designer/ Costume Supervisor — Margaux Solano
Chief Lighting Technician — Jake Lyon
Key Grip — Steve Forbes
Best Boy Grip — Christofer Moscoso
Grip — Rodney “Rock” Reed, Aria Brice, Thomas Vincent, Jake Storm, Paul Fierst, Nick Patten, Matthew Barnhart
Hair/Make-up Dept Head — Chelo Acosta-conley Location Manager — Alan Forbes
Music Consultant — Angela Asistio
Prop Master — Linnea Crabtree Production Designer — Andrew Clark Sound Mixer — Viktor Weiszhaupt, Johnathan Reece...
‘Monica’ begins in extreme closeup of a beautiful but unhappy woman. We do not know what makes her so unhappy; she is quiet, uncommunicative and lives in a sort of darkness, using her cel phone to call and to talk to people who do not answer her calls.
Opening as she is in a sun-tanning machine, the cinematography promotes the physical aspects of her life as her reality. She goes to her red convertible in a palmy sun-soaked Los Angeles and drives into middle America, her dyed red hair blowing in the breeze.
The film’s stillness, its low tenor dialogue when there is any, and the near lack of action make us gather pieces of the story more by induction than by its narrative. The moodiness of the story sets us into a receptive state to understand Monica is returning home to a world she has long left behind. She has a brother with a young wife and three young children. She has a mother who is dying. She also has a numbness to her that makes us feel numb ourselves.
We see her world and learn that she left home when a teenager and her mother left her off at the bus station and told her she could no longer be her mother. She returns not knowing if her mother will acknowledge her or even recognize her. But in the course of returning and connecting to her brother’s family, she finds a healing and the family finds a reconciliation of the sort we would all wish to make before our parents or siblings die. Solace comes from the everyday moments, normalcy in a time of despondency for all as the mother is dying but still living.
Trace Lysette is Monica
Andrea Pallaoro, the film’s director has a quiet and very sophisticated subtle way of delivering what we see as normal details in a way that delves into Monica’s internal world and state of mind. His earlier two films Medeas and Hannah, also have a feeling of not going anywhere as stillness and quiet predominate; but in the end, we know we have arrived at a different place.
He delivers an Italian arthouse feel to stories of almost normal, prosaic people leading lives of quiet desperation. This tattooed woman in a sun machine with her dyed red hair and red convertible, calling an estranged lover perhaps, calling people who do not return her calls, speaking with strangers and asking how they got her number, her massaging a man in her apartment, Is she a prostitute? She is a masseause but what sort…that is when the call comes from a sister-in-law she didn’t know she had, asking her to please come as her mother is dying and they need help with her and their own children.
Andreas has this to say about this particular film: During the past few years my mother’s illness has compelled me to confront my past and the psychological effects of abandonment. Treading between the interior and exterior, the emotional and physical, Monica explores the complexities of self-worth, the deep-rooted consequences of rejection and the lengths we go to heal our wounds. Through a cinematic language that stems from the juxtaposition of the aesthetics of intimacy and alienation, my creative team and I delved into the emotional and psychological landscape of Monica to reflect the precarious nature of self-identity when challenged by the need to survive and ultimately transform.
Andrea Pallaoro is no stranger to Venice. His first feature film, Medeas, premiered at the 70th Venice Film Festival in Orozzonti, the section for first and second time directors. It has won several awards at prestigious international film festivals including Marrakech, Tbilisi, Palm Springs, and CamerImage. And it has received positive reviews by serious critics and opinion makers. The New York Times’ Jeannette Catsoulis: “Capturing the poetry of bodies at rest and a landscape frozen in time,” in many ways describes Monica as well.
Hannah, Pallaoro’s second feature film, starring Charlotte Rampling, also world premiered in the Official Competition of the 74th Venice Film Festival where Ms. Rampling won the Coppa Volpi for best actress. Hannah went on to receive many prestigious international awards and recognition including a César nomination for best foreign film.
Born in Trento, Italy in 1982, Andrea Pallaoro holds an Mfa in Film Directing from the California Institute of the Arts and a BA from Hampshire College. He splits his time between Los Angeles and New York City.
What is as interesting to me as the film itself, is how the producer, Eleonora Granata-Jenkinson come to make this film and how everyone worked together. It is even more interesting because I am a close friend of Eleonora. We met in a line to a movie at her first Sundance Film Festival and I later visited her in Italy when she was a buyer for Rai Cinema. She moved to LA and married one of the finest acquisitions persons in the business and had two sons. She works very closely with the producer Gina Resnick, another “long-timer”, one of the first women in the film business and like us, still at it. Eleonora and Gina produced Andrea’s first film as well.
That is what I wanted to talk to her about and what follows is here:
I know you produced Andrea’s first film Medeas. You told me to see it when we were at the Palm Springs Film Festival. How did you meet Andrea, and did you know immediately that he was so gifted?
Eleonora: Because I am one of the few Italian producers living in Los Angeles, I get to see a lot of amazing young people coming over with their dream and with a film, and friends of friends who say “You gotta watch this, you gotta watch that”. So a dear friend of mine, Laura Zumiani of Trentino Film Commission, though they didn’t have a Trentino Film Commission then, said to me, “There’s a guy that you need to to see, he’s living here in LA and he’s from Trento, and he’s a good friend of mine, and he’s really talented. And I said, “Oh my god, one more…ok…” So I watched his short, it was called Wunderkammer.
Andrea was studying at Cal Arts; it was his last year, and this was his graduate film. I said, “Ok let’s watch this”. I was blown away. I had never seen such an incredible composition of photography; the camera moved in a swift and an incredibly crafted way. The story set was dark and I said ‘Omg, well maybe I’m overreacting’…I got so excited. You know when you find something, you say, ‘This is the thing!’…I call my friend Alessandra Venezia, the journalist, and I said, ‘Hey Alexandra’ (she’s my best friend) and I say, ‘am I crazy or is this guy got…’ I had a DVD because at that time it was what we had and I brought it to her. And she calls me back and says, ‘I watched it, oh my god, he’s incredible. Oh my god, Eleonora let’s go meet this guy’.
So I go, she couldn’t go, and I meet Andrea and Laura who’s Laura? Andrea is like one of the most sophisticated, amazing person you will meet. He’s kind, he’s funny, he’s gorgeous looking.
So I say Ok, so he has this idea and we develop a little bit of the idea on Medeashis first film and I became the producer. But I needed a hands on producer and I grab my other best friend…I have a few best friends, you are one too [thank you]. They are my support and my life and my joy, that’s why we are in this business…and I said, ‘Gina I have this project…she says, ‘oh no! not a first timer!,’ but then she saw his short and so we did Medeas. Then I developed with Andrea the second film, Hannah, starring Charlotte Rampling but I didn’t produce it for him. .. long sotry but it was better not to produce it and so we concentrated on this one and that’s how Monica came to be.
It sounds simple. Was it really so simple?
Eleonora: The journey for this film was a very long one because of the issue of the film and because of the nature of Andrea’s films which are absolutely accomplished but not for a wide audience. Monica is the biggest film that Andrea has done. It’s in English, it’s shot in the United States and we have a marvelous cast. The film turned out to be incredible.
What about Venice?…
Medeas showed at Venice Orizzonti, the festival’s section for first and second time directors. Then it went on to other festivals and received praise from very serious critics and opinion makers. New York Times called it a “ravishing first feature”.
His second film, Hannah, also premiered in Venice. Naturally we are in a good relationship with Venice and we would never consider anything else…though there is no guarantee that we would be chosen to go again. I think they will like the next one too however. So here we are in Competition, on the first weekend.
That is great placement — the first weekend.
Yes as the people start to migrate to Toronto after the first half…though any time, any day or night is a great achievement to be in Venice. There are other phenomenal films there that did not go to Cannes. I believe this is going to be one of the best Competitions of Venice. We’re so proud to be there…
Andrea is in great company: Gianni Amelio, Darren Aronofsky, Noah Baumbach, Alice Diop, Inarritu, Luca Guadigno, Jafar Panahi, Frederick Wiseman, Laura Poitras, Florian Zeller — just to name a few, fabulous experienced directors.
Let’s talk a bit about Monica. There’s so little dialogue and there’s so little visibly going on and yet that serves to puts you into this receptive state and you get it at the end…it is all so interior… Medeas was also quietly interior. And both are dealing with such American every day life and environment, the the protagonist is always quite special herself (and always a woman).
What is his connection to US?
Eleonora: He is an Italian-American director who, as every one of us who has come to Hollywood from outside of the USA, has an idea of America which is a very personal creative and cultural experience.
The story of Monica is based on a real friend of Andrea who was a neighbor when he first moved here. She was a beautiful transgender woman who was kicked out of her family when she was 16 and came to Los Angeles.
What’s trans about Monica?
She is a woman reconnecting with family that she was shut out from. She is going on an interior journey back to her roots from which she emerges from her loneliness and rejection and finds the value of loving each other for who we are.
What is edifying is the social commitment of the film. It is about injustice and understanding in portraying women in whatever shape they are as belonging to humankind…it’s a very human experience. We consider this a post-trangender film about a transgender person played by a transgender actor…
Is the actress trans?
Tracee Lysette worked in many non-transgender roles, but came out publicly as trans through her role as Shea on the Amazon series Transparent. On the show, she plays a transgender yoga teacher and friend of Maura Pfefferman (Jeffrey Tambor). She also played in Hustlers alongside Jennifer Lopez, Cardi B and Constance Wu.
Tracee generated such an energy in a beautiful love story interrupted and disconnected that she is able to move forward. It is such a restrained, finely drawn role. I really believe the performance will go for a major award.
One wonders whether the mother will recognize her and accept her.
Director Andrea Pallaoro and Patricia Clarkson
What about the other actors?
It was an unbelievable performance by Patricia Clarkson as the mother. She carried the film and with her own sensibility and her own personal view which so beautifully coinceded with Andreas’ vision. She supported the film all the way from its first steps through completion. She was always there for us.
Joshua Close, who plays the brother of Monica is coming out in Scorsese’s Killers of the Flower Moon playing opposite Leonardo di Caprio as his brother. He was great. Emily Browning is outstanding as the sister-in-law who calls Monica as she is giving the massage and tells her they need her to come back home where the mother is dying. And Adriana Barraza, one of the best actresses of Mexico, nominated for the Oscar for Best Performance by an Actress in a Supporting Role for Babel was incredible on the set, she brought such harmony.
The film was made on a very small budget and everyone had to pitch in to help it get made. The actors were all so supportive and helpful and Andrea actually produced the film with us. You should note aside from him there are only three producers: myself, Gina Resnick and Christina Dow.
I am a woman producer strongly believing in women supporting one another. Gina Resnick is not only a great hands-on producer but she stays through thick and thin. We of course are the closest friends as well. We must speak 20 times a day.
Even though it was a small budget, it was shot in 35 by a brilliant beautiful amazing Dp, Katelin Arizmendi. Kate is just coming off of the 2nd unit forDune. She is a brilliant young woman — looks like a movie star and is working with a whole team of women, grip and everything . You will see them all when you come to Venice. They’re all coming, this crazy force of nature. Together they did a did a stunning film, stunning. You could take every frame of film and put it on the wall.
We’re very very excited about it.
What about distribution?
We have already been invited to a very significant film festival after this one. It will have a successful journey. Our sales agent is The Exchange. And UTA: I want to mention Rena Ronson — Rina, Gina and Eleonora…UTA did so much for us. We really joined forces. They set up all the screenings for finding a domestic US distributor who screened the film. After Venice and the reviews and others have weighed in, we will decide on our US plan.
I notice a huge number of coproducers and executive producers. There are 19. What is that about? It seems, actually to be a trend…Triangle of Sadnesshad 31 as do so many films these days…
The many executive and coproducers all believed in the script in spite of its difficult subject and they all significantly helped us put this film together. They were our best allies.
Our financial partner Felix and all the executive producers are worth mentioning. My own son, Matteo Jenkinson worked really closely with me to produce this film…
Andrea is a brilliant genius. Surrounded by such a cast and technical team, our Italian post-production help, the editor Paola Freddi; everyone went way above and beyond their designated roles with the film.
We even had help from the Italians with post-production by Propaganda Italia, Simone Gandolfo and a little financial support of the Ministero della Cultura (MiC) . And we have the best distributor in Italy today, I Wonder.
Credits
Directed by Andrea Pallaoro
Written by Andrea Pallaoro and Orlando Tirado
Cinematographer Katelin Arizmendi
Editor Paola Freddi
Production Designer Andrew Clark
Costume designer Patrik Milani
Sound supervisor Mirko Perri
Produced by Gina Resnick p.g.a., Christina Dow, Eleonora Granata Jenkinson,
Andrea Pallaoro
Co — produced by Marina Marzotto a.g.i.c.i., Mattia Oddone, Riccardo Di Pasquale, Gabriele Oricchio, Antonio Adinolfi, Giorgia Lo Savio
Executive Producer — Trace Lysette, Andrei Epifanov, David Schwarz, Steve Stanulis, Joana Henning, Stephanie Castagnier Dunn , Anthony Burns, Amy Gilliam, Eric Schnedecker, Christina Sibul , Karen Tenkhoff, Eric Cook , Matteo Jenkinson , Brian O’Shea, Nat McCormick, Dru Davis, Julien P Bourgon , Theo Vieljeux, Ali Jazayeri, Viviana Zarragoitia
Produced by Varient Entertainment, Solo Five Production, Melograno Films
Co-produced by Propaganda Italia, Fenix Entertainment with Rai Cinema and Alacran Pictures
In association with 039 Albedo, The Exchange, Cinetrain and Hudson Entertainment Group
Cast & Crew
Trace Lysette ⎜Monica
Patricia Clarkson ⎜Eugenia
Emily Browning ⎜ Laura
Joshua Close ⎜ Paul
Adriana Barraza ⎜ Leticia
Graham Caldwell ⎜Brody
Ruby Fraser ⎜Britney
Director Of Photography/ Camera Operator — Kate Arizmendi
1St Assistant Camera — Jasmine Chang
2nd Assistant Camera — Sam Storm
1St Assistant Director- Laura Klein
2Nd Assistant Director — Roger Mendoza
Line Producer — Chenney Chen
Upm — Eric Cook
Production Coordinator — Nick Avery, Cristina Arteaga
Production Secretary- Jessica Meek
Casting Director (NY/LA) — Emily Schweber
Local Casting Director — D. Lynn Meyers
Assistant Casting Director — Ali Raizin
Assistant Casting Director Cincinnati — Becca Schall
Costume Designer — Patrik Milani
Asst. Costume Designer/ Costume Supervisor — Margaux Solano
Chief Lighting Technician — Jake Lyon
Key Grip — Steve Forbes
Best Boy Grip — Christofer Moscoso
Grip — Rodney “Rock” Reed, Aria Brice, Thomas Vincent, Jake Storm, Paul Fierst, Nick Patten, Matthew Barnhart
Hair/Make-up Dept Head — Chelo Acosta-conley Location Manager — Alan Forbes
Music Consultant — Angela Asistio
Prop Master — Linnea Crabtree Production Designer — Andrew Clark Sound Mixer — Viktor Weiszhaupt, Johnathan Reece...
- 9/10/2022
- by Sydney
- Sydney's Buzz
Click here to read the full article.
Fans of Transparent will recognize Trace Lysette. For five seasons on Amazon’s groundbreaking gender- and genre-breaking series, she played Shea, a transgender yoga teacher who helps Jeffrey Tambor’s character — and the non-trans audience — understand trans lingo and culture.
It was also Lysette who came forward, in 2017, with claims that Tambor had sexually harassed her on the Transparent set, one of several allegations that led Tambor to exit the show after its fourth season.
Her performance as Shea helped get Lysette the role of Tracey in Lorene Scafaria’s 2019 blockbuster Hustlers alongside Jennifer Lopez, one of the first times a trans actor had a starring turn in a major Hollywood film.
And then, nothing. Aside from the occasional guest appearance, voice work on Netflix’s short-lived LGBTQ animated series Q-Force and a supporting turn in Ty Hodges’ Venus as a Boy,...
Fans of Transparent will recognize Trace Lysette. For five seasons on Amazon’s groundbreaking gender- and genre-breaking series, she played Shea, a transgender yoga teacher who helps Jeffrey Tambor’s character — and the non-trans audience — understand trans lingo and culture.
It was also Lysette who came forward, in 2017, with claims that Tambor had sexually harassed her on the Transparent set, one of several allegations that led Tambor to exit the show after its fourth season.
Her performance as Shea helped get Lysette the role of Tracey in Lorene Scafaria’s 2019 blockbuster Hustlers alongside Jennifer Lopez, one of the first times a trans actor had a starring turn in a major Hollywood film.
And then, nothing. Aside from the occasional guest appearance, voice work on Netflix’s short-lived LGBTQ animated series Q-Force and a supporting turn in Ty Hodges’ Venus as a Boy,...
- 9/1/2022
- by Scott Roxborough
- The Hollywood Reporter - Movie News
The US-Italian drama follows a trans woman who returns home to care for her dying mother.
Screen can exclusively reveal the first trailer for Andrea Pallaoro’s Monica, starring Patricia Clarkson and Trace Lysette, which premieres in competition at the 79th Venice Film Festival (August 31 - September 10).
The US-Italian drama follows a trans woman, played by Lysette whose previous credits include Hustlers and Prime Video’s Transparent, returning home to care for her dying mother, played by Clarkson. Emily Browning also stars.
Lead producers are Varient Entertainment, Solo Five Production and Melograno Films while The Exchange is handling sales.
This...
Screen can exclusively reveal the first trailer for Andrea Pallaoro’s Monica, starring Patricia Clarkson and Trace Lysette, which premieres in competition at the 79th Venice Film Festival (August 31 - September 10).
The US-Italian drama follows a trans woman, played by Lysette whose previous credits include Hustlers and Prime Video’s Transparent, returning home to care for her dying mother, played by Clarkson. Emily Browning also stars.
Lead producers are Varient Entertainment, Solo Five Production and Melograno Films while The Exchange is handling sales.
This...
- 8/31/2022
- by Ellie Calnan
- ScreenDaily
Exclusive: Trace Lysette (Hustlers), Oscar nominee Patricia Clarkson (Sharp Objects), Oscar winner Anna Paquin (The Piano) and Oscar nominee Adriana Barraza (Babel) are attached to star in the feature film Monica, from Italian filmmaker Andrea Pallaoro.
The Exchange is launching world sales during the Toronto Film Festival on the drama, which will chart the story of a transgender woman (Lysette) who returns home to the Midwest to care for her dying mother (Clarkson). The tale of a fractured family is said to explore themes of abandonment, ageing, acceptance and redemption.
Pallaoro’s 2017 sophomore feature Hannah played at Toronto and Venice, where it won Charlotte Rampling the festival’s best actress prize. His first film, Medeas, also premiered in competition on the Lido.
From an original screenplay by the director and Orlando Tirado (Hannah), the film will be produced by Christina Dow (Hannah), Eleonora Granata (Medeas), Marina Marzotto (5 Is The Perfect Number...
The Exchange is launching world sales during the Toronto Film Festival on the drama, which will chart the story of a transgender woman (Lysette) who returns home to the Midwest to care for her dying mother (Clarkson). The tale of a fractured family is said to explore themes of abandonment, ageing, acceptance and redemption.
Pallaoro’s 2017 sophomore feature Hannah played at Toronto and Venice, where it won Charlotte Rampling the festival’s best actress prize. His first film, Medeas, also premiered in competition on the Lido.
From an original screenplay by the director and Orlando Tirado (Hannah), the film will be produced by Christina Dow (Hannah), Eleonora Granata (Medeas), Marina Marzotto (5 Is The Perfect Number...
- 9/11/2020
- by Andreas Wiseman
- Deadline Film + TV
Charlotte Rampling gives an emotionally rigorous display of bruising internalization, without an ounce of vanity, in the title role of Hannah. But although the lead performance commands admiration, the overall impact of this unrelentingly dour account of a woman struggling to carry on with her life after her husband's imprisonment is dulled by its distancing approach. While Italian-born director Andrea Pallaoro showed promise with his 2013 debut Medeas, an elegant contemporary twist on Greek tragedy, this second feature is an exercise in miserabilism that withholds far more than it yields.
Set in an unnamed Belgian city near the coast, the...
Set in an unnamed Belgian city near the coast, the...
- 9/8/2017
- by David Rooney
- The Hollywood Reporter - Movie News
Exclusive: First image released of Rampling in tale of identity loss and contemporary alienation.
TF1 Studio will launch sales on Italian director Andrea Pallaoro’s drama The Whale, starring Charlotte Rampling as a woman undergoing an identity crisis, at the upcoming Efm.
It is the second feature from La-based Pallaoro after his portrait of family disintegration Medeas, which premiered in Venice’s Horizons section in 2013 and went on to clinch multiple awards.
Revisiting themes explored in that film, The Whale is an intimate portrait of a woman’s progressive loss of identity as she struggles to come to terms with her past and her own sense of reality, exploring contemporary alienation and the human struggle to connect.
Pallaoro co-wrote the screenplay with long-time collaborator Orlando Tirado.
“We’re very proud to follow Andrea Pallaoro on his next movie. When we discovered Medeas, it was love at first sight and we know that The Whale has this same...
TF1 Studio will launch sales on Italian director Andrea Pallaoro’s drama The Whale, starring Charlotte Rampling as a woman undergoing an identity crisis, at the upcoming Efm.
It is the second feature from La-based Pallaoro after his portrait of family disintegration Medeas, which premiered in Venice’s Horizons section in 2013 and went on to clinch multiple awards.
Revisiting themes explored in that film, The Whale is an intimate portrait of a woman’s progressive loss of identity as she struggles to come to terms with her past and her own sense of reality, exploring contemporary alienation and the human struggle to connect.
Pallaoro co-wrote the screenplay with long-time collaborator Orlando Tirado.
“We’re very proud to follow Andrea Pallaoro on his next movie. When we discovered Medeas, it was love at first sight and we know that The Whale has this same...
- 2/3/2017
- ScreenDaily
Exclusive: First image released of Rampling in tale of identity loss and contemporary alienation.
TF1 Studio will launch sales on Italian director Andrea Pallaoro’s drama The Whale, starring Charlotte Rampling as a woman undergoing an identity crisis, at the upcoming Efm.
It is the second feature from La-based Pallaoro after his portrait of family disintegration Medeas, which premiered in Venice’s Horizons section in 2013 and went on to clinch multiple awards.
Revisiting themes explored in that film, The Whale is an intimate portrait of a woman’s progressive loss of identity as she struggles to come to terms with her past and her own sense of reality, exploring contemporary alienation and the human struggle to connect.
Pallaoro co-wrote the screenplay with long-time collaborator Orlando Tirado.
“We’re very proud to follow Andrea Pallaoro on his next movie. When we discovered Medeas, it was love at first sight and we know that The Whale has this same...
TF1 Studio will launch sales on Italian director Andrea Pallaoro’s drama The Whale, starring Charlotte Rampling as a woman undergoing an identity crisis, at the upcoming Efm.
It is the second feature from La-based Pallaoro after his portrait of family disintegration Medeas, which premiered in Venice’s Horizons section in 2013 and went on to clinch multiple awards.
Revisiting themes explored in that film, The Whale is an intimate portrait of a woman’s progressive loss of identity as she struggles to come to terms with her past and her own sense of reality, exploring contemporary alienation and the human struggle to connect.
Pallaoro co-wrote the screenplay with long-time collaborator Orlando Tirado.
“We’re very proud to follow Andrea Pallaoro on his next movie. When we discovered Medeas, it was love at first sight and we know that The Whale has this same...
- 2/3/2017
- ScreenDaily
The Whale
Director: Andrea Pallaoro
Writer: Andrea Pallaoro, Orlando Tirado
One of Italy’s most notable up-and-coming auteurs is Andrea Pallaoro, whose 2008 award winning short ‘Wunderkammer,’ preceded the critically celebrated debut Medeas in 2013 (read review), which enjoyed a very healthy festival run following its premiere in Venice (he also picked up a directing award in Marrakech).
Continue reading...
Director: Andrea Pallaoro
Writer: Andrea Pallaoro, Orlando Tirado
One of Italy’s most notable up-and-coming auteurs is Andrea Pallaoro, whose 2008 award winning short ‘Wunderkammer,’ preceded the critically celebrated debut Medeas in 2013 (read review), which enjoyed a very healthy festival run following its premiere in Venice (he also picked up a directing award in Marrakech).
Continue reading...
- 1/4/2017
- by Nicholas Bell
- IONCINEMA.com
The Whale
Director: Andrea Pallaoro
Writers: Andrea Pallaoro, Orlando Tirado
One of Italy’s most notable up-and-coming auteurs is Andrea Pallaoro, whose 2008 award winning short ‘Wunderkammer,’ preceded the critically celebrated debut Medeas in 2013 (read review), which enjoyed a very healthy festival run following its premiere in Venice (he also picked up a directing award in Marrakech). For his sophomore effort, The Whale, Pallaoro collaborates once more with writer Orlando Tirado and snagged icon Charlotte Rampling (currently enjoying awards buzz for her turn in 45 Years). Rampling plays Hannah, a woman beset by a severe crisis. Pallaoro has kept mum on the plot as the project has gone through several rounds of funding, and filming was supposed to have commenced in Belgium mid-October 2015 for six weeks (and, more recently, Pallaoro has already lined up his next gig, the fantastic sounding Beauty Salon).
Cast: Charlotte Rampling
Production Co.: Partner Media Investment, Urban Factory,...
Director: Andrea Pallaoro
Writers: Andrea Pallaoro, Orlando Tirado
One of Italy’s most notable up-and-coming auteurs is Andrea Pallaoro, whose 2008 award winning short ‘Wunderkammer,’ preceded the critically celebrated debut Medeas in 2013 (read review), which enjoyed a very healthy festival run following its premiere in Venice (he also picked up a directing award in Marrakech). For his sophomore effort, The Whale, Pallaoro collaborates once more with writer Orlando Tirado and snagged icon Charlotte Rampling (currently enjoying awards buzz for her turn in 45 Years). Rampling plays Hannah, a woman beset by a severe crisis. Pallaoro has kept mum on the plot as the project has gone through several rounds of funding, and filming was supposed to have commenced in Belgium mid-October 2015 for six weeks (and, more recently, Pallaoro has already lined up his next gig, the fantastic sounding Beauty Salon).
Cast: Charlotte Rampling
Production Co.: Partner Media Investment, Urban Factory,...
- 1/10/2016
- by Nicholas Bell
- IONCINEMA.com
A lyrical portrait of a rural Southern California family’s inner lives, their relationship to their ever-shifting landscape, and their growing alienation with each other, "Medeas" is the acclaimed debut feature of Italian-born filmmaker Andrea Pallaoro. Offering a contemporary variation from the pov of an Italian art filmmaker, on the time-honored tradition of the Greek tragedy, ‘Medea’, Pallaoro’s film stars the remarkable Catalina Sandino Moreno, a Best Actress Oscar nominee for "Maria Full of Grace," and Brían F. O'Byrne ("Million Dollar Baby," "Before The Devil Knows You’re Dead") a Tony Award winner for the Broadway drama Frozen.
The film tells the story of a hard-working Southern California dairy farmer (O’Byrne) struggling to maintain control of his family and his younger, hearing-impaired Latina wife (Moreno) whose interest in her husband and family is beginning to wane, "Medeas" investigates the all-too-human state of alienation and its relationship to the equally human desire for intimacy. It’s an outstanding debut feature for writer/director Pallaoro, whose earlier short film " Wunderkammer" won six international awards and was selected in the official competitions of over fifty film festivals around the world, including the Sundance Film Festival.
Largely based on real events taken from newspapers and court trials, "Medeas" features a ravishing visual style and a contemplative narrative approach that’s immediately reminiscent of the works of Terrence Malick and Michelangelo Antonioni. But Pallaoro’s first film is all his own—an undeniably passionate, personal work meticulously crafted with primal beauty and punctuated with sensational performances by its two leading players.
Following its acclaimed rollout to film festivals around the world, The Vladar Company is excited to presents the limited theatrical engagement of "Medeas" at the Village East theater in New York City beginning December 19th.
The winner of the New Voices/ New Visions Grand Jury Prize at the Palm Springs International Film Festival 2013 for "Medeas", filmmaker Andrea Pallaoro also won the award for Best Director at the Marrakech International Film Festival and the Parajanov Prize for Best Visuals and Aesthetics at the Tbilisi International Film Festival. Additionally, Pallaoro won the UK-Italy Creative Industries Award for Best Innovative Budget at the Venice Film Festival. And for her starring role in "Medeas", Catalina Sandino Moreno won Best Actress in the New Director’s Competition at the Nashville Film Festival.
More information on "Medeas" can be found on at the film’s website at http://www.medeasthefilm.com
Synopsis:
"Medeas" is an intimate portrait of a rural family’s inner lives and their relationship to a harsh and shifting landscape. Ennis, a stern, Hard-working dairy farmer struggles to maintain control of his family and surrounding environment, while his wife, Christina, retreats into herself, progressively disconnecting from him an their five children. As tensions increase, each character must confront their yearnings and anxieties, culminating in a dangerous conflict between control and freedom, intimacy and alienation. A journey into the unpredictable boundaries of human behavior, "Medeas" explores the desperate lengths people are driven to by love and self-preservation.
About The Vladar Company:
The Vladar Company is a media and entertainment company, led by Vlad Yudin and Edwin Mejia. Since its inception in 2008, the company has catered to the market’s growing need for entertainment content across multiple platforms. The company focuses on developing, financing and packaging a library of intellectual properties with its producing partners at leading Hollywood and International production studios. The company is becoming a leading producer of many genres and multiple mediums in U.S. and international markets.
Vladar will continue to develop, finance and release projects in different formats as well as create and build brands with partners and investors around the world. Vladar will also focus on creating and developing new distribution models and contribute to the success of independent film and TV production. Its sales and operations will expand nationally and internationally.
The film tells the story of a hard-working Southern California dairy farmer (O’Byrne) struggling to maintain control of his family and his younger, hearing-impaired Latina wife (Moreno) whose interest in her husband and family is beginning to wane, "Medeas" investigates the all-too-human state of alienation and its relationship to the equally human desire for intimacy. It’s an outstanding debut feature for writer/director Pallaoro, whose earlier short film " Wunderkammer" won six international awards and was selected in the official competitions of over fifty film festivals around the world, including the Sundance Film Festival.
Largely based on real events taken from newspapers and court trials, "Medeas" features a ravishing visual style and a contemplative narrative approach that’s immediately reminiscent of the works of Terrence Malick and Michelangelo Antonioni. But Pallaoro’s first film is all his own—an undeniably passionate, personal work meticulously crafted with primal beauty and punctuated with sensational performances by its two leading players.
Following its acclaimed rollout to film festivals around the world, The Vladar Company is excited to presents the limited theatrical engagement of "Medeas" at the Village East theater in New York City beginning December 19th.
The winner of the New Voices/ New Visions Grand Jury Prize at the Palm Springs International Film Festival 2013 for "Medeas", filmmaker Andrea Pallaoro also won the award for Best Director at the Marrakech International Film Festival and the Parajanov Prize for Best Visuals and Aesthetics at the Tbilisi International Film Festival. Additionally, Pallaoro won the UK-Italy Creative Industries Award for Best Innovative Budget at the Venice Film Festival. And for her starring role in "Medeas", Catalina Sandino Moreno won Best Actress in the New Director’s Competition at the Nashville Film Festival.
More information on "Medeas" can be found on at the film’s website at http://www.medeasthefilm.com
Synopsis:
"Medeas" is an intimate portrait of a rural family’s inner lives and their relationship to a harsh and shifting landscape. Ennis, a stern, Hard-working dairy farmer struggles to maintain control of his family and surrounding environment, while his wife, Christina, retreats into herself, progressively disconnecting from him an their five children. As tensions increase, each character must confront their yearnings and anxieties, culminating in a dangerous conflict between control and freedom, intimacy and alienation. A journey into the unpredictable boundaries of human behavior, "Medeas" explores the desperate lengths people are driven to by love and self-preservation.
About The Vladar Company:
The Vladar Company is a media and entertainment company, led by Vlad Yudin and Edwin Mejia. Since its inception in 2008, the company has catered to the market’s growing need for entertainment content across multiple platforms. The company focuses on developing, financing and packaging a library of intellectual properties with its producing partners at leading Hollywood and International production studios. The company is becoming a leading producer of many genres and multiple mediums in U.S. and international markets.
Vladar will continue to develop, finance and release projects in different formats as well as create and build brands with partners and investors around the world. Vladar will also focus on creating and developing new distribution models and contribute to the success of independent film and TV production. Its sales and operations will expand nationally and internationally.
- 11/28/2014
- by Sydney Levine
- Sydney's Buzz
Offering a contemporary twist on the infamous Greek tragedy "Medea," "Medeas" is the directorial debut of Italian-born filmmaker Andrea Pallaoro starring Best Actress Oscar nominee Catalina Sandino Moreno ("Maria Full of Grace," and in this year's "A Most Violent Year") and Brian F. O'Byrne ("Million Dollar Baby"). Here's the synopsis: An intimate portrait of a rural family’s inner lives and their relationship to a harsh and shifting landscape. Ennis, a stern, hard-working dairy farmer struggles to maintain control of his family and surrounding environment, while his wife, Christina, retreats into herself, progressively disconnecting from him an their five children. As tensions increase, each character must confront their yearnings and anxieties, culminating in a dangerous conflict between control and freedom, intimacy, and alienation. The director, who takes visual inspiration from Malick and Antonioni, picked up the Best Innovative...
- 11/20/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Highlights include Anton Corbijn’s A Most Wanted Man, starring the late Philip Seymour Hoffman, and Abel Ferrara’s controversial Dsk feature Welcome To New York.
The full line-up of the 68th Edinburgh International Film Festival (Eiff) has been revealed this morning by artistic director Chris Fujiwara at Edinburgh’s Filmhouse.
This year’s festival, which runs from June 18-29, will comprise 156 features from 47 countries, including 11 world premieres, eight international premieres, seven European premieres and 95 UK premieres.
New titles announced today include Anton Corbijn’s A Most Wanted Man, starring the late Philip Seymour Hoffman in one of his final performances that was first shown at Sundance in January.
Straight from its lively premiere in Cannes is Abel Ferrara’s controversial title Welcome To New York, inspired by the case of former Imf managing director Dominique Strauss-Kahn, starring Gérard Depardieu, which will receive its UK premiere at Eiff.
Other new titles added to the line-up include [link=nm...
The full line-up of the 68th Edinburgh International Film Festival (Eiff) has been revealed this morning by artistic director Chris Fujiwara at Edinburgh’s Filmhouse.
This year’s festival, which runs from June 18-29, will comprise 156 features from 47 countries, including 11 world premieres, eight international premieres, seven European premieres and 95 UK premieres.
New titles announced today include Anton Corbijn’s A Most Wanted Man, starring the late Philip Seymour Hoffman in one of his final performances that was first shown at Sundance in January.
Straight from its lively premiere in Cannes is Abel Ferrara’s controversial title Welcome To New York, inspired by the case of former Imf managing director Dominique Strauss-Kahn, starring Gérard Depardieu, which will receive its UK premiere at Eiff.
Other new titles added to the line-up include [link=nm...
- 5/28/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The International Film Festival of Cartagena de Indias has confirmed the rest of its programme.
Cartagena has added a Midnight Cinema section including two Colombian horror films: Gallows Hill (Encerrada), directed by Víctor García and written by Richard D´Ovidio and starring Peter Facinelli; and Demental by young Colombian David Bohórquez, which will have its world premiere at the festival.
The outdoor series Cinema Under the Stars includes:
Gloria, Sebastián Lelio (Chile)La Jaula de Oro, Diego Quemada Diez (Mexico)The Lunchbox, Ritesh Batra (India)Ciudad Delirio, Chus Gutiérrez (festival opening film)Porro Hecho en Colombia, Adriana Lucía, who will give a concert at the end of the screening.
Special Presentations section include Simon Brand’s Default, Laurie Collyer’s Sunlight Jr, Spike Jonze’s Her, Go for Sisters by John Sayles (the subject of a retrospective), and Medeas by Andrea Pallaoro.
There are also two films that are also part of Tributes: Alejandro González Iñárritu’s [link...
Cartagena has added a Midnight Cinema section including two Colombian horror films: Gallows Hill (Encerrada), directed by Víctor García and written by Richard D´Ovidio and starring Peter Facinelli; and Demental by young Colombian David Bohórquez, which will have its world premiere at the festival.
The outdoor series Cinema Under the Stars includes:
Gloria, Sebastián Lelio (Chile)La Jaula de Oro, Diego Quemada Diez (Mexico)The Lunchbox, Ritesh Batra (India)Ciudad Delirio, Chus Gutiérrez (festival opening film)Porro Hecho en Colombia, Adriana Lucía, who will give a concert at the end of the screening.
Special Presentations section include Simon Brand’s Default, Laurie Collyer’s Sunlight Jr, Spike Jonze’s Her, Go for Sisters by John Sayles (the subject of a retrospective), and Medeas by Andrea Pallaoro.
There are also two films that are also part of Tributes: Alejandro González Iñárritu’s [link...
- 2/27/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Updated Jan 12: Lakshmi wins narrative audience award; Gore Vidal: The United States Of Amnesia earns doc honours.
Top brass at the Palm Springs International Film Festival announced on January 12 that Nagesh Kukunoor’s Lakshmi (India) had been awarded the Mercedes-Benz Audience Award for Best Narrative Feature.
Meanwhile Gore Vidal: The United States Of Amnesia (Us) directed by Nicholas Wrathall won the audience award for best documentary feature.
In the juried awards announced on January 11, Felix van Groeningen’s shortlisted Belgian foreign language Oscar contender The Broken Circle Breakdown won the Fipresci Prize for best foreign language film of the year at the 25th Palm Springs International Film Festival on January 11.
Mads Mikkelsen of Thomas Vinterberg’s Oscar shortlisted Danish feature The Hunt won the Fipresci Prize for the best actor of the year in a foreign language film, while Bérénice Bejo took the corresponding actress honour for Asghar Farhadi’s Iranian Oscar submission The Past.
Andrea Pallaoro...
Top brass at the Palm Springs International Film Festival announced on January 12 that Nagesh Kukunoor’s Lakshmi (India) had been awarded the Mercedes-Benz Audience Award for Best Narrative Feature.
Meanwhile Gore Vidal: The United States Of Amnesia (Us) directed by Nicholas Wrathall won the audience award for best documentary feature.
In the juried awards announced on January 11, Felix van Groeningen’s shortlisted Belgian foreign language Oscar contender The Broken Circle Breakdown won the Fipresci Prize for best foreign language film of the year at the 25th Palm Springs International Film Festival on January 11.
Mads Mikkelsen of Thomas Vinterberg’s Oscar shortlisted Danish feature The Hunt won the Fipresci Prize for the best actor of the year in a foreign language film, while Bérénice Bejo took the corresponding actress honour for Asghar Farhadi’s Iranian Oscar submission The Past.
Andrea Pallaoro...
- 1/12/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Felix van Groeningen’s shortlisted Belgian foreign language Oscar contender The Broken Circle Breakdown won the Fipresci Prize for best foreign language film of the year at the 25th Palm Springs International Film Festival on January 11.
Mads Mikkelsen of Thomas Vinterberg’s Oscar shortlisted Danish featureThe Hunt won the Fipresci Prize for the best actor of the year in a foreign language film, while Bérénice Bejo took the corresponding actress honour for Asghar Farhadi’s Iranian Oscar submission The Past.
Andrea Pallaoro prevailed in the New Voices/New Visions contest for his Us film Medeas and a special mention went to Left Foot Right Foot (Switzerland), by Germinal Roaux.
The Cine Latino Award was presented to two films: Amat Escalante’s Heli (Mexico) and David Trueba’s Living Is Easy With Eyes Closed (Spain). Sebastian Lelio’s Colombian film Gloria earned a special mention.
The John Schlesinger Award for a first-time documentary film-maker/s went to [link...
Mads Mikkelsen of Thomas Vinterberg’s Oscar shortlisted Danish featureThe Hunt won the Fipresci Prize for the best actor of the year in a foreign language film, while Bérénice Bejo took the corresponding actress honour for Asghar Farhadi’s Iranian Oscar submission The Past.
Andrea Pallaoro prevailed in the New Voices/New Visions contest for his Us film Medeas and a special mention went to Left Foot Right Foot (Switzerland), by Germinal Roaux.
The Cine Latino Award was presented to two films: Amat Escalante’s Heli (Mexico) and David Trueba’s Living Is Easy With Eyes Closed (Spain). Sebastian Lelio’s Colombian film Gloria earned a special mention.
The John Schlesinger Award for a first-time documentary film-maker/s went to [link...
- 1/12/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Prize winners of the 2013 Marrakech International Film Festival have been unveiled by jury president Martin Scorsese and jurists Fatih Akin, Patricia Clarkson, Marion Cotillard, Amat Escalante, Golshifteh Farahani, Anurag Kashyap, Narjiss Nejjar, Park Chan-wook and Paolo Sorrentino (who had to miss his big night at the European Film Awards). South Korean director Lee Su-jin took the top festival prize, The Golden Star, for his drama "Han Gong-Ju" (gorgeous Korean trailer below). The jury prize went to 2013 Cannes Fipresci winner Jeremy Saulnier's arthouse revenge film "Blue Ruin," tying with Carlos Machado Quintela's "The Swimming Pool." Full list of winner's below: The Golden Star - The Festival Grand Prize Han Gong-ju de/by Lee Su-jin (South Korea) The Jury Prize Blue Ruin by Jeremy Saulnier (USA) The Swimming Pool (La piscina) de/by Carlos MacHado Quintela (Cuba & Venezuela) The Best Directing Prize Medeas by Andrea Pallaoro (USA, Italy...
- 12/8/2013
- by Ryan Lattanzio
- Thompson on Hollywood
Other winners at the cinematography festival in Poland included Alfonso Cuaron’s Gravity.Scroll down for full list of winners
Competition winners at Camerimage, the International Film Festival of the Art of Cinematography, were revealed today as the 21st edition came to a close with a gala awards celebration at the Opera Nova in Bydgoszcz, Poland.
The winner of the top prize - the Golden Frog - went to Polish drama Ida, directed by Paweł Pawlikowski, the latest in a string of top awards for the film.
Ida cinematographers Lukasz Zal and Ryszard Lenczewski accepted the award.
The film stars newcomer Agata Trzebuchowska opposite Polish star Agata Kulesza in the story of a young novitiate nun in 1960s Poland who is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation.
It marks the first Polish-language film for Warsaw-born British filmmaker Pawlikowski, best known for...
Competition winners at Camerimage, the International Film Festival of the Art of Cinematography, were revealed today as the 21st edition came to a close with a gala awards celebration at the Opera Nova in Bydgoszcz, Poland.
The winner of the top prize - the Golden Frog - went to Polish drama Ida, directed by Paweł Pawlikowski, the latest in a string of top awards for the film.
Ida cinematographers Lukasz Zal and Ryszard Lenczewski accepted the award.
The film stars newcomer Agata Trzebuchowska opposite Polish star Agata Kulesza in the story of a young novitiate nun in 1960s Poland who is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation.
It marks the first Polish-language film for Warsaw-born British filmmaker Pawlikowski, best known for...
- 11/23/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Andrea Pallaoro's Medeas, which premiered at the Venice Film Festival, is a strong and true piece of cinema, dealing with topics like alienation, desire, family and violence. In his first feature film, the Italian director explores the life of a family in the California desert in a way that makes the drought-stricken landscapes appear as inner images of the characters. A slow-burning, menacing conflict emerges between the religious father and his deaf-dumb wife who betrays him. In between are four children with their own needs and conflicts. Their daily life is captured with beautiful cinematography, an attentive ear to sound and a way of acting that gives room for our own interpretations. Pallaoro tells his story with cinematic means; there is not much dialogue needed...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 11/10/2013
- Screen Anarchy
You Gotta See Her: Palloaro’s Debut Trite Yet Lyrical Odyssey of Familial Discord
Any familiarity with the Euripides’ classic Greek tragedy will have you already guessing what the outcome of Andrea Pallaoro’s directorial debut will yield, but that’s not to say it doesn’t take a quietly lyrical journey of meditative visuals to get us there. Neither a modernization nor necessarily influenced by the classical piece the title invokes, Pallaoro instead seems to use it as the sole dramatic flair to material that’s intended to be a multi-focal portrait of an imploding familial unit, and despite a predictable finale manages to lull us into a hypnotic state where passion and heartbreak are conveyed as quietly as whispering winds through haze filled fields.
We glimpse an idyllic familial unit warmly enjoying each other’s company one late summer afternoon, with patriarch Ennis (Brian F. O’Byrne) carousing...
Any familiarity with the Euripides’ classic Greek tragedy will have you already guessing what the outcome of Andrea Pallaoro’s directorial debut will yield, but that’s not to say it doesn’t take a quietly lyrical journey of meditative visuals to get us there. Neither a modernization nor necessarily influenced by the classical piece the title invokes, Pallaoro instead seems to use it as the sole dramatic flair to material that’s intended to be a multi-focal portrait of an imploding familial unit, and despite a predictable finale manages to lull us into a hypnotic state where passion and heartbreak are conveyed as quietly as whispering winds through haze filled fields.
We glimpse an idyllic familial unit warmly enjoying each other’s company one late summer afternoon, with patriarch Ennis (Brian F. O’Byrne) carousing...
- 9/5/2013
- by Nicholas Bell
- IONCINEMA.com
I’ve yet to find myself on the Lido (at the top of my bucket list choices for film festivals I’ve yet to visit) but thanks to some forward-thinking folks such as the Festival Scope folks, the Venice Film Festival is coming directly to our living rooms, laptops and whatnot Live.
An experiment that began last year and in its sophomore edition has blossomed into a well-oiled virtual event, each film (see list) below will hold a maximum “seating capacity” of 500 virtual places/seat holders for world cinephiles (read the full description of the service). Among the dozen or so films from the Orizzonti section and a selected trio films from the new Biennale College are the make-up of Web Theatre programme and to help promote the event, we’re holding a contest – five lucky readers will get to watch Pavilion‘s Tim Sutton’s (an Ioncinephile of the...
An experiment that began last year and in its sophomore edition has blossomed into a well-oiled virtual event, each film (see list) below will hold a maximum “seating capacity” of 500 virtual places/seat holders for world cinephiles (read the full description of the service). Among the dozen or so films from the Orizzonti section and a selected trio films from the new Biennale College are the make-up of Web Theatre programme and to help promote the event, we’re holding a contest – five lucky readers will get to watch Pavilion‘s Tim Sutton’s (an Ioncinephile of the...
- 8/28/2013
- by Eric Lavallee
- IONCINEMA.com
With the rise of the encroaching Toronto, the domestic competition offered by Rome and a hugely successful Cannes this year, the 70th Venice Film Festival - which begins on 28 August - is facing some pretty stiff competition. The lineup, however, is on the face of it relatively low-key, though there are some very interesting possibilities and potential surprises. Regular attendee George Clooney opens proceedings with Alfonso Cuarón's Gravity, whilst in the main competition lie a mix of old hands - Errol Morris with his Donald Rumsfeld documentary, Hayao Miyazaki's last fable - along with fresh talents such as Kelly Reichardt (Night Moves) and Jonathan Glazer (with his Birth follow-up, Under the Skin).
Terry Gilliam also returns after an elongated absence, his The Zero Theorem starring Christoph Waltz as a hacker searching for the meaning of existence. The film hopefully marks a return to form for a filmmaker who...
Terry Gilliam also returns after an elongated absence, his The Zero Theorem starring Christoph Waltz as a hacker searching for the meaning of existence. The film hopefully marks a return to form for a filmmaker who...
- 8/28/2013
- by CineVue UK
- CineVue
Digital tickets have gone on sale for Venice Film Festival titles that will stream online concurrently with official screenings.
A total of 12 films from the Orizzonti section and three films from the new Biennale College – Cinema will make up the programme of the Web Theatre, introduced last year as an experiment.
The films will be available for viewing around the world, streaming concurrently with the official screenings on the Lido (Aug 28 - Sept 7).
There will be a maximum “seating capacity” for each showing of 500 seats. There will be one screening only for each of the films and it will be located on a secure site managed by Festival Scope on behalf of the Venice Film Festival.
Starting this year, Mymovies.it will also collaborate in the promotion.
In order to view the film of choice, users must first register on the Biennale website, pay for the ticket (€4), after which they will receive a personal link that will...
A total of 12 films from the Orizzonti section and three films from the new Biennale College – Cinema will make up the programme of the Web Theatre, introduced last year as an experiment.
The films will be available for viewing around the world, streaming concurrently with the official screenings on the Lido (Aug 28 - Sept 7).
There will be a maximum “seating capacity” for each showing of 500 seats. There will be one screening only for each of the films and it will be located on a secure site managed by Festival Scope on behalf of the Venice Film Festival.
Starting this year, Mymovies.it will also collaborate in the promotion.
In order to view the film of choice, users must first register on the Biennale website, pay for the ticket (€4), after which they will receive a personal link that will...
- 8/14/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The Venice International Film Festival has announced the lineup for its 70th edition.
Official Competition
Es-Stouh (Merzak Allouache, Algeria/France)
L'Intrepido (Gianna Amelio, Italy)
Miss Violence (Alexandros Avranas, Greece)
Via Castellana Bandiera (Emma Dante, Italy/Switzerland/France)
Tom à la ferme (Xavier Dolan, Canada/France)
Child of God (James Franco, USA)
Philomena (Stephen Frears, UK)
La Jalousie (Philippe Garrel, France)
The Zero Theorem (Terry Gilliam, UK/USA)
Ana Arabia (Amos Gitai, Israel/France)
Under the Skin (Jonathan Glazer, UK/USA)
Joe (David Gordon Green, USA)
The Police Officer's Wife (Philip Gröning, Germany)
Parkland (Peter Landesman, USA)
The Wind Rises (Hayao Miyazaki, Japan)
The Unknown Known: The Life and Times of Donald Rumsfeld (Errol Morris, USA)
Night Moves (Kelly Reichardt, USA)
Sacro Gra (Gianfranco Rosi, Italy)
Stray Dogs (Tsai Ming-liang, Chinese Taipei/France)
Out Of Competition
Space Pirate Captain Harlock (Shinji Aramaki, Japan)
Gravity (Alfonso Cuarón, USA)
Summer '82 — When Zappa Came to Siciliy (Salvo Cuccia,...
Official Competition
Es-Stouh (Merzak Allouache, Algeria/France)
L'Intrepido (Gianna Amelio, Italy)
Miss Violence (Alexandros Avranas, Greece)
Via Castellana Bandiera (Emma Dante, Italy/Switzerland/France)
Tom à la ferme (Xavier Dolan, Canada/France)
Child of God (James Franco, USA)
Philomena (Stephen Frears, UK)
La Jalousie (Philippe Garrel, France)
The Zero Theorem (Terry Gilliam, UK/USA)
Ana Arabia (Amos Gitai, Israel/France)
Under the Skin (Jonathan Glazer, UK/USA)
Joe (David Gordon Green, USA)
The Police Officer's Wife (Philip Gröning, Germany)
Parkland (Peter Landesman, USA)
The Wind Rises (Hayao Miyazaki, Japan)
The Unknown Known: The Life and Times of Donald Rumsfeld (Errol Morris, USA)
Night Moves (Kelly Reichardt, USA)
Sacro Gra (Gianfranco Rosi, Italy)
Stray Dogs (Tsai Ming-liang, Chinese Taipei/France)
Out Of Competition
Space Pirate Captain Harlock (Shinji Aramaki, Japan)
Gravity (Alfonso Cuarón, USA)
Summer '82 — When Zappa Came to Siciliy (Salvo Cuccia,...
- 7/26/2013
- by Notebook
- MUBI
Following the announcement that came earlier this week, launching yet another hugely impressive line-up at the 2013 Toronto International Film Festival, the respective line-up has now been announced for what is in some ways its European counterpart, the 2013 Venice Film Festival.
The announcement shows that the two will continue to have a number of films overlapping, including Alfonso Cuarón’s Gravity (the Opening Night Film in Venice), Peter Landesman’s Parkland, Stephen Frears’ Philomena, and more. But it also brings with its news of where a number of films will be making their debut, including Terry Gilliam’s The Zero Theorem; the latest film from Hayao Miyazaki, The Wind Rises; James Franco’s Child of God; Lee Sang-il’s Yurusarezaru Mono, the Japanese remake of Unforgiven; and Steven Knight’s Locke, led by Tom Hardy, and shot in one take.
In Competition
Es-Stouh – Merzak Alloucache (Algeria, France, 94’) L’Intrepido – Gianni Amelio (Italy,...
The announcement shows that the two will continue to have a number of films overlapping, including Alfonso Cuarón’s Gravity (the Opening Night Film in Venice), Peter Landesman’s Parkland, Stephen Frears’ Philomena, and more. But it also brings with its news of where a number of films will be making their debut, including Terry Gilliam’s The Zero Theorem; the latest film from Hayao Miyazaki, The Wind Rises; James Franco’s Child of God; Lee Sang-il’s Yurusarezaru Mono, the Japanese remake of Unforgiven; and Steven Knight’s Locke, led by Tom Hardy, and shot in one take.
In Competition
Es-Stouh – Merzak Alloucache (Algeria, France, 94’) L’Intrepido – Gianni Amelio (Italy,...
- 7/26/2013
- by Kenji Lloyd
- HeyUGuys.co.uk
The Toronto Film Festival has 12 Years A Slave and Gravity, but the Venice Film Festival does not intend to be outdone. Gravity will open the festival, yes, but Terry Gilliam’s The Zero Theorem will also put in an appearance. Plus there are new films from Stephen Frears, Paul Schrader and James Franco, who brings his Child Of God to play at Venice. Hayao Miyazaki’s latest The Wind Rises will show up at Venice too, after its Japanese tour. Then there are films from Errol Morris, Kelly Reichardt, and Frederick Wiseman. Oh, and the Japanese Unforgiven remake Yurusarezaru mono.
All in all, it’s not a bad line-up for Venice this year. Lots of films that we’ve already heard of and, as usual, a whole slew that we probably haven’t. Festival season is always an exciting time, less for the major works and more for the ones...
All in all, it’s not a bad line-up for Venice this year. Lots of films that we’ve already heard of and, as usual, a whole slew that we probably haven’t. Festival season is always an exciting time, less for the major works and more for the ones...
- 7/25/2013
- by Lauren Humphries-Brooks
- We Got This Covered
The films screened at the 70th Venice film festival – as the programme release is staggered, this will be updated as more information comes in
The 70th Venice film festival runs from 28 August until 7 September
Opening night film
Gravity, Dir: Alfonso Cuaron
Closing night film
Amazonia, Dir: Thierry Ragobert
Competition
Ana Arabia, Dir: Amos Gitai
Child of God, Dir: James Franco
Die Frau des Polizisten (The Police Officer's Wife), Dir: Philip Groning
L'intrepido, Dir: Gianni Amelio
La Jalousie, Dir: Philippe Garrel
Jiaoyou,, Dir: (Stray Dogs), Tsai Ming-liang
Joe, Dir: David Gordon Green
Kaze Tachinu, Dir: Hayao Miyazaki
Miss Violence, Dir: Alexandros Avranas
Night Moves, Dir: Kelly Reichardt
Parkland, Dir: Peter Landesman
Philomena, Dir: Stephen Frears
Sacro Gra, Dir: Gianfranco Rosi
Es-Stouh (The Rooftops), Dir: Merzak Allouache
Tom at the Farm, Dir: Xavier Dolan
Tracks, Dir: John Curran
Under the Skin, Dir: Jonathan Glazer
The Unknown Known: the Life and Times of...
The 70th Venice film festival runs from 28 August until 7 September
Opening night film
Gravity, Dir: Alfonso Cuaron
Closing night film
Amazonia, Dir: Thierry Ragobert
Competition
Ana Arabia, Dir: Amos Gitai
Child of God, Dir: James Franco
Die Frau des Polizisten (The Police Officer's Wife), Dir: Philip Groning
L'intrepido, Dir: Gianni Amelio
La Jalousie, Dir: Philippe Garrel
Jiaoyou,, Dir: (Stray Dogs), Tsai Ming-liang
Joe, Dir: David Gordon Green
Kaze Tachinu, Dir: Hayao Miyazaki
Miss Violence, Dir: Alexandros Avranas
Night Moves, Dir: Kelly Reichardt
Parkland, Dir: Peter Landesman
Philomena, Dir: Stephen Frears
Sacro Gra, Dir: Gianfranco Rosi
Es-Stouh (The Rooftops), Dir: Merzak Allouache
Tom at the Farm, Dir: Xavier Dolan
Tracks, Dir: John Curran
Under the Skin, Dir: Jonathan Glazer
The Unknown Known: the Life and Times of...
- 7/25/2013
- The Guardian - Film News
With still several films not yet announced for the behemoth Toronto Int. Film Festival, it appears that 2013 will be a significant cross-over year for Venice titles (Joe, Night Moves, Parkland, Philomena, Tracks, Under the Skin) landing in the Canadian capitol and from the get-go, it appears that Toronto programmers have indeed stole some of the thunder from the Alberto Barbera’s Lido, specifically in the case where they grabbed world premiere rights to Steve McQueen’s 12 Years A Slave with the Fox Searchlight folks possibly looking to keep the film on North American soil. However, for the time being that are titles that are worth salivating over that will be making their preems on the Lido – along with a grab bag of Euro and Asian titles we have the highly anticipated showings for Hayao Miyazaki’s Kaze Tachinu, Tsai Ming-liang’s Stray Dogs, Xavier Dolan’s Tom a la Ferme...
- 7/25/2013
- by Eric Lavallee
- IONCINEMA.com
Competition titles include new films from Reichardt, Morris, Miyazaki, Glazer, Gitai, Gilliam, Frears.See below for full lists
The 70th Venice International Film Festival includes an array of exciting new features, including films from Kelly Reichardt, Errol Morris, Jonathan Glazer, Terry Gilliam, Amos Gitai and Stephen Frears.
As previously announced Alfonso Cuaron’s Gravity will open the festival and Thierry Ragobert’s Amazonia will close.
Director Bernardo Bertolucci will head the jury at the event, which runs from August 28 to September 7.
A total of 20 titles in all will compete for the festival’s Golden Lion award.
Gilliam’s The Zero Theorem stars Christoph Waltz playing a reclusive computer genius, and also features Tilda Swinton, Ben Whishaw, Melanie Thierry and David Thewlis.
Glazer is launching anticipated sci-fi Under the Skin, starring Scarlett Johansson, while Reichardt’s thriller Night Moves stars Jesse Eisenberg, Peter Sarsgaard and Dakota Fanning as three environmentalists who plot to blow up a dam. Frears...
The 70th Venice International Film Festival includes an array of exciting new features, including films from Kelly Reichardt, Errol Morris, Jonathan Glazer, Terry Gilliam, Amos Gitai and Stephen Frears.
As previously announced Alfonso Cuaron’s Gravity will open the festival and Thierry Ragobert’s Amazonia will close.
Director Bernardo Bertolucci will head the jury at the event, which runs from August 28 to September 7.
A total of 20 titles in all will compete for the festival’s Golden Lion award.
Gilliam’s The Zero Theorem stars Christoph Waltz playing a reclusive computer genius, and also features Tilda Swinton, Ben Whishaw, Melanie Thierry and David Thewlis.
Glazer is launching anticipated sci-fi Under the Skin, starring Scarlett Johansson, while Reichardt’s thriller Night Moves stars Jesse Eisenberg, Peter Sarsgaard and Dakota Fanning as three environmentalists who plot to blow up a dam. Frears...
- 7/25/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
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